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 throwesThe corrall of his lippe, the roseGrowing 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?
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 throwesThe corrall of his lippe, the roseGrowing 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 underPsyche,C. 101.
Hymen.See Sir Theodore Martin's translations of theCollis O Heliconii, and theVesper 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 ofTempe: 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. SeeC. 125and genealogical tables H and I.Hippotadesis 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) "Iristhere 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, see46.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 nameCeresis from the stemcer, Sanskritkri, 'to make.' By metonomy the word comes to signifycornin the Latin. Demeter (Γῆ μήτηρ, δᾶ μάτηρ) meansMother Earth. The goddess is represented in art crowned with a wheat-measure (ormodius), 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. Rheawas worshiped asCybele, the Great Mother, in Phrygia and at Pessinus in Galatia. During the Second Punic War, 203B.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.Dionysusmeans the Zeus orgodof Nysa, an imaginary vale of Thrace, Bœotia, or elsewhere, in which the deity spent his youth. The nameBacchusowes its origin to theenthusiasmwith which the followers of the god lifted up their voices in his praise. Similar names are Iacchus, Bromius, Evius (from the cryevoe). The god was also called Lyæus, theloosenerof care, Liber, theliberator. His followers are also known as Edonides (fromMount Edon, in Thrace, where he was worshiped), Thyiades, thesacrificers, 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." OnSemele, 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 underAriadne.
43.The invention of the syrinx is attributed also to Mercury. For poetical illustrations of Pan seeC. 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, see254-257in The Adventures of Æneas.
Illustrative.Lowell, addressing the Past, says:
Whatever of true life there was in theeLeaps in our age's veins; ...Here, 'mid the bleak waves of our strife and careFloat the green Fortunate IslesWhere all thy hero-spirits dwell, and shareOur martyrdom and toils;The present moves attendedWith all of brave and excellent and fairThat made the old time splendid.
Whatever of true life there was in theeLeaps in our age's veins; ...Here, 'mid the bleak waves of our strife and careFloat the green Fortunate IslesWhere all thy hero-spirits dwell, and shareOur martyrdom and toils;The present moves attendedWith all of brave and excellent and fairThat made the old time splendid.
Milton, Paradise Lost, 3, 568, "Like those Hesperian gardens," etc. See also the same, 2, 577 ff.,—"AbhorrèdStyx, 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 nameHadesmeans "the invisible," or "he who makes invisible." The meaning of Pluto (Plouton), according to Plato (Cratylus), iswealth,—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.Hadesis called also the Illustrious, the Many-named, the Benignant,Polydectesor 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 Latinpro-serpo, 'to creep forth' (used of herbs in spring), but from the Greek form Persephone,bringer of death. The later namePherephattarefers 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 ofLibitina, 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, see61andC. 190, Table O; for Minos and Rhadamanthus, see59. Eumenides: euphemistic term, meaning thewell-intentioned.Hecatewas descended through her father Perses from the Titans, Creüs and Eurybië; through her mother Asteria from the Titans, Cœus and Phœbe. She was therefore, on both sides, the granddaughter of Uranus and Gæa.
The following table is based upon Hesiod's account ofThe 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 falseDreamsand the horn and ivory gates (Odyssey, 19, 560) rests on a double play upon words: (1) ἐλέφας (elephas), 'ivory,' and ἐλεφαίρομαι (elephairomai), 'to cheat with false hope'; (2) κέρας (keras), horn, and κραίνειν (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 aFuryby 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.Scyllaand 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 (see134); 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, fromcondere, 'to stow away.' The sisters ofCarmenta, 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 wasMetis, 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.). OnLatona, see32,73, and Commentary.
56.For Danaë see151; for Alemene,156; for Leda,194.
57.In the following general table of theRace 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.
Inachusis the principal river of Argolis in the Peloponnesus.
Interpretative.Iois explained as the horned moon, in its various changes and wanderings.Argusis 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 ofCallistoandArcasis 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 adjectiveCalliste, 'most fair,' which was certainly applied to Artemis herself. That Artemis was protectress of she-bears is known; also that, in Attica, she wasserved 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 thetotem, or sacred animal, from which the Arcadians traced a mythological descent. Others hold that the wordarksha, 'a star,' became confused with the Greekarktos, '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, orCynosure(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| +—Atalantaof Arcadia (Calyd. Hunt)+—ArgusPanoptes (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| | | +— Menœceus| | | +—Creon| | | | +— Menœceus II| | | | +— Hæmon| | | +—Jocasta| | | =Laïus| | | +—Œdipus| | | +—Eteocles| | | +—Polynices| | | | +— Thersander| | | +—Antigone| | | +—Ismene| | +— Polydorus| | +— Labdacus| | +—Laïus| | =Jocasta| | +—Œdipus(see above)| +— Phœnix| +— 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| +— Prœtus| +— 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 oftoutwatch 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+— Œdipus (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+— Phœnix+— Cilix
Textual.Moschuslived 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 in100. 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 thatEuropawas 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. Otherssaid that probably the figurehead of the ship in which Europa was conveyed to Crete was abull. It is not improbable that the story indicates a settlement of Phœnicians 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 (Phœnicia). Her brother Cadmus, who pursues her, would be the sun searching for his lost sister or bride. Very fanciful, but inconclusive.The bulloccurs 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,Semeleis 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 Bœotia, 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, see255. 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. TheMyrmidonswere, during the Trojan War, the soldiers of Achilles, grandson of this king Æacus.
Interpretative.The nameÆginamay imply either the shore on which the waves break (Preller), or the sacred goat (Ægeus) which was thetotemof 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: