CHAPTER XXXII

THE PRESERVATION OF MYTHS

=297. Traditional History.= Before the introduction of writing, myths were preserved in popular traditions, in the sacred ceremonials of colleges of priests, in the narratives chanted by families of minstrels or by professional bards wandering from village to village or from court to court, and in occasional hymns sung by privileged harpists, like Demodocus of Phæacia,[393] in honor of a chieftain, an ancestor, or a god. Many of these early bards are mere names to us. Most of them are probably as mythical as the songs with which they are accredited. The following is a brief account of mythical prophets, of mythical musicians and poets, and of the actual poets and historians who recorded the mythologies from which English literature draws its classical myths,--the Greek, the Roman, the Norse, and the German.

=298. In Greece.= (1) _Mythical Prophets._ To some of the oldest bards was attributed the gift of prophecy. Indeed, nearly every expedition of mythology was accompanied by one of these seers, priests, or "medicine men," as we might call them.

_Melampus_ was the first Greek said to be endowed with prophetic powers. Before his house there stood an oak tree containing a serpent's nest. The old serpents were killed by the slaves, but Melampus saved the young ones. One day when he was asleep under the oak, the serpents licked his ears with their tongues, enabling him to understand the language of birds and creeping things.[394] At one time his enemies seized and imprisoned him. But Melampus, in the silence of the night, heard from the woodworms in the timbers that the supports of the house were nearly eaten through and the roof would soon fall in. He told his captors. They took his warning, escaped destruction, rewarded the prophet, and held him in high honor.

Other famous soothsayers were Amphiaraüs, who took part in the War of the Seven against Thebes; Calchas, who accompanied the Greeks during the Trojan War; Helenus and Cassandra, of King Priam's family, who prophesied for the Trojan forces; Tiresias, the blind prophet of Thebes; and Mopsus, who attended the Argonauts. The stories of these expeditions are given in preceding chapters.

(2) _Mythical Musicians and Poets._ Since the poets of antiquity sang their stories or hymns to an accompaniment of their own upon the harp or lyre, they were skilled in the art of music as well as in that of verse.

_Orpheus_, whose adventures have been narrated, passes in tradition for the oldest of Greek lyrists, and the special favorite, even the son, of the god Apollo, patron of musicians. This Thracian bard is said to have taught mysterious truths concerning the origin of things and the immortality of the soul. But the fragments of Orphic hymns which are attributed to him are probably the work of philosophers of a much later period in Greek literature.

Another Thracian bard, _Thamyris_, is said in his presumption to have challenged the Muses to a trial of skill. Conquered in the contest, he was deprived of his sight. To _Musæus_, the son of Orpheus, was attributed a hymn on the Eleusinian mysteries, and other sacred poems and oracles. Milton couples his name with that of Orpheus:

But, O sad Virgin! that thy power Might raise Musæus from his bower, Or bid the soul of Orpheus sing Such notes as, warbled to the string, Drew iron tears down Pluto's cheek, And made Hell grant what love did seek.[395]

Other legendary bards or musicians were Linus, Marsyas, and Amphion.

(3) _The Poets of Mythology._ _Homer_, from whose poems of the Iliad and Odyssey we have taken the chief part of our chapters on the Trojan War and the return of the Grecians, is almost as mythical a personage as the heroes he celebrates. The traditionary story is that he was a wandering minstrel, blind and old, who traveled from place to place singing his lays to the music of his harp, in the courts of princes or the cottages of peasants,--a dependent upon the voluntary offerings of his hearers. Byron calls him "the blind old man of Scio's rocky isle"; and a well-known epigram, alluding to the uncertainty of the fact of his birthplace, runs:

Seven wealthy towns contend for Homer dead, Through which the living Homer begged his bread.

These seven places were Smyrna, Chios (now Scio), Colophon, Ithaca, Pylos, Argos, and Athens.

Modern scholars have doubted whether the Homeric poems are the work of any single mind. This uncertainty arises, in part, from the difficulty of believing that poems of such length could have been committed to writing in the age usually assigned to these, when materials capable of transmitting long productions were not yet in use. On the other hand, it is asked how poems of such length could have been handed down from age to age by means of the memory alone. This question is answered by the statement that there was a professional body of men whose business it was to commit to memory and rehearse for pay the national and patriotic legends.

Pisistratus of Athens ordered a commission of scholars (about 537 B.C.) to collect and revise the Homeric poems; and it is probable that at that time certain passages of the Iliad and Odyssey, as we now have them, were interpolated. Beside the Iliad and the Odyssey, many other epics passed in antiquity under Homer's name. The so-called Homeric Hymns to the gods, which were composed by various poets after the death of Homer, are a source of valuable information concerning the attributes of the divinities addressed.

The date assigned to Homer, on the authority of Herodotus, is 850 B.C. The preservation and further fashioning of myths fell, after Homer's time, into the hands of the Rhapsodists, who chanted epic songs, and of the Cyclic poets, who elaborated into various epic _circles_, or completed wholes, neglected traditions of the Trojan War. Among these cyclic poems were the Cyprian Lays, which related the beginnings of the Trojan War and the first nine years of the siege, thus leading up to the Iliad; the Æthiopis, which continued the Iliad and told of the death of Achilles; the Little Iliad and the Iliupersis, which narrated the fall of Troy and magnified the exploits of Ajax and Philoctetes; and the Nostoi, or Home-Comings, which told the adventures of various Greek heroes during the period of ten years between the end of the Iliad and the beginning of the Odyssey. Most of these poems were once attributed to Homer. They are all lost, but the names of some of their authors survive. There was also a cycle which told of the two wars against Thebes.

_Hesiod_ is, like Homer, one of the most important sources of our knowledge of Greek mythology. He is thought by some to have been a contemporary of Homer, but concerning the relative dates of the two poets there is no certainty. Hesiod was born in Ascra in B[oe]otia; he spent his youth as a shepherd on Mount Helicon, his manhood in the neighborhood of Corinth, and wrote two great poems, the Works and Days, and the Theogony, or Genealogy of the Gods. From the former we obtain a connected account of Greek traditions concerning the primitive commodities of life, the arts of agriculture and navigation, the sacred calendar, and the various prehistoric ages. From the latter poem we learn the Greek mythology of the creation of the world, the family of the gods, their wars, and their attitude toward primeval man. While Hesiod may have composed his works at a somewhat later period than Homer, it is noteworthy that his stories of the gods have more of the savage or senseless element than those attributed to Homer. The artist, or artists, of the Iliad and the Odyssey seem to have refined the stories into poetic gold; Hesiod has gathered them in the ore, like so many specimens for a museum.

A company of _Lyric Poets_, of whom Stesichorus (620 B.C.), Alcæus (611 B.C.), Sappho (610 B.C.), Arion (600 B.C.), Simonides of Ceos (556 B.C.), Ibycus (540 B.C.), Anacreon (530 B.C.), and Pindar (522 B.C.) are the most prominent, have contributed much to our knowledge of mythology. They have left us hymns to the gods, references to mythical heroes, and accounts of more or less pathetic legendary adventures.

Of the works of _Sappho_ few fragments remain, but they establish her claim to eminent poetical genius. Her story is frequently alluded to. Being passionately in love with a beautiful youth named Phaon, and failing to obtain a return of affection, she is said to have thrown herself from the promontory of Leucadia into the sea, under a superstition that those who should take that "Lover's Leap" would, if not destroyed, be cured of their love.

Of _Arion_ the greatest work was a dithyramb or choral hymn to the god of wine. It is said that his music and song were of such sweetness as to charm the monsters of the sea; and that when thrown overboard on one occasion by avaricious seamen, he was borne safely to land by an admiring dolphin. Spenser represents Arion, mounted on his dolphin, accompanying the train of Neptune and Amphitrite:

Then was there heard a most celestial sound Of dainty music, which did next ensue Before the spouse: that was Arion crowned Who, playing on his harp, unto him drew The ears and hearts of all that goodly crew; That even yet the dolphin which him bore Through the Ægean seas from pirates' view, Stood still by him astonished at his lore, And all the raging seas for joy forgot to roar.[396]

_Simonides_ was one of the most prolific of the early poets of Greece, but only a few fragments of his compositions have descended to us. He wrote hymns, triumphal odes, and elegies, and in the last species of composition he particularly excelled. His genius was inclined to the pathetic; none could touch with truer effect the chords of human sympathy. The Lamentation of Danaë, the most important of the fragments which remain of his poetry, is based upon the tradition that Danaë and her infant son were confined by order of her father Acrisius in a chest and set adrift on the sea. The myth of her son, Perseus, has already been narrated.

Myths received their freest and perhaps most ideal treatment at the hands of the greatest lyric poet of Greece, _Pindar_ (522 B.C.). In his hymns and songs of praise to gods and in his odes composed for the victors in the national athletic contests, he was accustomed to use the mythical exploits of Greek heroes as a text from which to draw morals appropriate to the occasion.[397]

The three great _Tragic Poets_ of Greece have handed down to us a wealth of mythological material. From the plays of _Æschylus_ (525 B.C.) we gather, among other noble lessons, the fortunes of the family of Agamemnon, the narrative of the expedition against Thebes, the sufferings of Prometheus, benefactor of men. In the tragedies of _Sophocles_ (495 B.C.) we have a further account of the family of Agamemnon, myths of [OE]dipus of Thebes and his children, stories connected with the Trojan War, and the last adventure and the death of Hercules. Of the dramas of _Euripides_ (480 B.C.) there remain to us seventeen, in which are found stories of the daughters of Agamemnon, the rare and beautiful narrative of Alcestis, and the adventures of Medea. All of these stories have been recounted in their proper places.

The _Comedies of Aristophanes_, also, are replete with matters of mythological import.

Of the later poets of mythology, only two need be mentioned here,--_Apollonius_ of Rhodes (194 B.C.), who wrote in frigid style the story of Jason's Voyage for the Golden Fleece; and _Theocritus_ of Sicily (270 B.C.), whose rural idyls are at once charmingly natural and romantic.[398]

(4) _Historians of Mythology._ The earliest narrators in prose of the myths, legends and genealogies of Greece lived about 600 B.C. Herodotus, the "father of history" (484 B.C.), embalms various myths in his account of the conflicts between Asia and Greece. Apollodorus (140 B.C.) gathers the legends of Greece later incorporated in the Library of Greek Mythology. That delightful traveler, Pausanias, makes special mention, in his Tour of Greece, of the sacred customs and legends that had maintained themselves as late as his time (160 A.D.). Lucian, in his Dialogues of the Gods and Dialogues of the Dead, awakens "inextinguishable laughter" by his satire on ancient faith and fable.

=299. Roman Poets of Mythology.= _Virgil_, called also by his surname, Maro, from whose poem of the Æneid we have taken the story of Æneas, was one of the great poets who made the age of the Roman emperor, Augustus, celebrated. Virgil was born in Mantua in the year 70 B.C. His great poem is ranked next to those of Homer, in that noble class of poetical composition, the epic. Virgil is inferior to Homer in originality and invention. The Æneid, written in an age of culture and science, lacks that charming atmosphere of belief which invests the naïve, or _popular_, epic. The myths concerning the founding of Rome, which Virgil has received from earlier writers, he has here fused into a _literary_ epic. But what the Æneid lacks of epic simplicity, it makes up in patriotic spirit, in lofty moral and civic ideals, in correctness of taste, and in stylistic form.

_Ovid_, often alluded to in poetry by his other name, Naso, was born in the year 43 B.C. He was educated for public life and held some offices of considerable dignity; but poetry was his delight, and he early resolved to cultivate it. He accordingly sought the society of contemporary poets and was acquainted with Horace and saw Virgil, though the latter died when Ovid was yet too young and undistinguished to have formed his acquaintance. Ovid spent an easy life at Rome in the enjoyment of a competent income. He was intimate with the family of Augustus, the emperor; and it is supposed that some serious offense given to a member of that family was the cause of an event which reversed the poet's happy circumstances and clouded the latter portion of his life. At the age of fifty he was banished from Rome and ordered to betake himself to Tomi on the borders of the Black Sea. His only consolation in exile was to address his wife and absent friends. His letters were all in verse. They are called the "Tristia," or Sorrows, and Letters from Pontus. The two great works of Ovid are his "Metamorphoses" or Transformations, and his "Fasti," or Poetic Calendar. They are both mythological poems, and from the former we have taken many of our stories of Grecian and Roman mythology. These poems have thus been characterized:

"The rich mythology of Greece furnished Ovid, as it may still furnish the poet, the painter, and the sculptor, with materials for his art. With exquisite taste, simplicity, and pathos he has narrated the fabulous traditions of early ages, and given to them that appearance of reality which only a master hand could impart. His pictures of nature are striking and true; he selects with care that which is appropriate; he rejects the superfluous, and when he has completed his work, it is neither defective nor redundant. The 'Metamorphoses' are read with pleasure by the young and old of every civilized land."

In an incidental manner, _Horace_, the prince of Roman lyric poets, and the lyric and elegiac writers, _Catullus_, _Tibullus_, and _Propertius_, have liberally increased our knowledge of Greek and Roman myth.[399]

_Seneca_, the teacher of Nero, is best known for his philosophical treatises; but he wrote, also, tragedies, the materials of which are well-known Greek legends. _Apuleius_, born in Africa, 114 A.D., interests us as the compiler of a clever romance, The Golden Ass;[400] the most pleasing episode of which, the story of Cupid and Psyche, has been elsewhere related.[401]

=300. Records of Norse Mythology.=[402] A system of mythology of especial interest,--as belonging to the race from which we, through our English ancestors, derive our origin,--is that of the Norsemen, who inhabited the countries now known as Sweden, Denmark, Norway, and Iceland. Their mythological lore has been transmitted by means of Runes, Skaldic poems, the Eddas, and the Sagas.

_The Runes._ The earliest method of writing prevalent among the Norsemen was by runes. The word means _hidden lore_, or _mystery_. The earliest runes were merely fanciful signs supposed to possess mysterious power. As a synonym for _writing_, the term was first applied to the Northern alphabet, itself derived from ancient Greek and Roman coins. Of the old Scandinavian runes several specimens have been found--one an inscription on a golden horn of the third or fourth century A.D., which was dug up in Schleswig a hundred and sixty years ago; another, on a stone at Tune in Norway. From such an alphabet the Anglo-Saxon runes were derived. Inscriptions in later Scandinavian runes have been discovered in Sweden, Denmark, and the Isle of Man. The characters are of the stiff and angular form necessitated by the materials on which they were inscribed,--tombstones, spoons, chairs, oars, and so forth.[403] It is doubtful whether mythological poems were ever written in this way; dedications to pagan deities, ditties of the eleventh century, and love-spells have, however, been found.

_The Skaldic Poems._ The bards and poets of the Norsemen were the Skalds. They were the depositaries of whatever historic lore there was; and it was their office to mingle something of intellectual gratification with the rude feasts of the warriors, by rehearsing, with such accompaniments of poetry and music as their skill could afford, the exploits of heroes living or dead. Such songs were called Drapas. The origin of Skaldic poetry is lost in mythic or prehistoric darkness, but the Skalds of Iceland continued to play a most important part in the literary development of the north as late as the end of the fourteenth century. Without their coöperation, the greater part of the songs and sagas of genuine antiquity could hardly have reached us. The Skaldic diction, which was polished to an artistic extreme, with its pagan metaphors and similes retained its supremacy over literary form even after the influence of Christianity had revolutionized national thought.[404]

_The Eddas._ The chief mythological records of the Norse are the Eddas and the Sagas. The word _Edda_ has usually been connected with the Icelandic for _great-grandmother_;[405] it has also been regarded as a corruption of the High German _Erda_, Mother Earth, from whom, according to the lay in which the word first occurs, the earliest race of mankind sprang,[406]--or as the _point_ or _head_ of Norse poetry,[407] or as a tale concerned with _death_,[408] or as derived from Odde, the home of the reputed collector of the Elder Edda. But, of recent years, scholars have looked with most favor upon a derivation from the Icelandic _óðr_, which means mind, or poetry.[409] There are two Icelandic collections called Eddas: Snorri's and Sæmund's. Until the year 1643 the name was applied to a book, principally in prose, containing Mythical Tales, a Treatise on the Poetic Art and Diction, a Poem on Meters, and a Rhymed Glossary of Synonyms, with an appendix of minor treatises on grammar and rhetoric--the whole intended as a guide for poets. Although a note in the Upsala manuscript, of date about 1300 A.D., asserted that this work was "put together" by Snorri Sturlason, who lived 1178-1241, the world was not informed of the fact until 1609, when Arngrim Johnsson made the announcement in his Constitutional History of Iceland.[410] While the main treatises on the poetic art are, in general, Snorri's, the treatises on grammar and rhetoric have been, with more or less certitude, assigned to other writers of the twelfth and thirteenth centuries. It is probable, too, that in the Mythical Tales, or the Delusion of Gylfi, Snorri merely enlarged and edited with poetical illustrations the work of earlier hands. The poets of the fourteenth and fifteenth centuries do not speak of Snorri, but they refer continually to the "rules of Edda," and frequently to the obscurity and the conventionality of Eddic phraseology, figures, and art. Even at the present day in Iceland it is common to hear the term "void of Eddic art," or "a bungler in Eddic art." A rearrangement of Snorri's Edda, by Magnus Olafsson (1574-1636), is much better known than the original work.

In 1642, Bishop Bryniolf Sveinsson discovered a manuscript of the mythological poems of Iceland. Misled by theories of his own and by a fanciful suggestion of the famous antiquary Biorn of Scardsa, he attributed the composition of these poems to Sæmund the Wise, a historian who lived 1056-1133. Henceforth, consequently, Snorri's work is called the Younger, or Prose Edda, in contradistinction to Bryniolf's find, which is known as the Elder, the Poetical Edda, or the Edda of Sæmund. The oldest manuscript of the Poetical Edda is of the thirteenth century. Its contents were probably collected not later than 1150. The composition of the poems cannot well be placed earlier than the ninth or tenth centuries after Christ; and a consideration of the habits, laws, geography, and vocabulary illustrated by the poems leads eminent scholars to assign the authorship to emigrants of the south Norwegian tribes who, sailing westward, "won Waterford and Limerick, and kinged it in York and East England."[411] The poems are Icelandic, however, in their general character and history. They are principally of heroic and mythical import: such as the stories of Balder's Fate, of Skirnir's Journey, of Thor's Hammer, of Helgi the Hunding's Bane, and the twenty lays that in fragmentary fashion tell the eventful history of the Volsungs and the Nibelungs.[412]

_The Sagas._ The Eddas contain many myths and mythical features that contradict the national character of both Germans and Norsemen, but the sagas have their roots in Norse civilization and are national property.[413] Of these mythic-heroic prose compositions the most important to us is the Volsunga Saga, which was put together probably in the twelfth century and is based in part upon the poems of the Elder Edda, in part upon floating traditions, and in part upon popular songs that now are lost.[414]

=301. Records of German Mythology.=[412] The story of the Volsungs and the Nibelungs springs from mythological sources common to the whole Teutonic race. Two distinct versions of the saga survive,--the Low or North German, which we have already noticed in the lays of the Elder Edda and in the Norse Volsunga Saga, and the High or South German, which has been preserved in German folk songs and in the Nibelungenlied, or Lay of the Nibelungs, that has grown out of them. The Norse form of the story exhibits a later survival of the credulous, or myth-making, mental condition. The Lay of the Nibelungs absorbed, at an earlier date, historical elements, and began sooner to restrict the personality of its heroes within the compass of human limitations.[415]

Although there are many manuscripts, or fragments of manuscripts, of the Nibelungenlied that attest its popularity between the thirteenth and sixteenth centuries, it was not until the Swiss critic, J. J. Bodmer, published, in 1757, portions of two ancient poems, "The Revenge of Kriemhild" and "The Lament over the Heroes of Etzel," that the attention of modern scholars was called to this famous German epic. Since that time many theories of the composition of the Nibelungenlied have been advanced. It has been held by some that the German epic is an adaptation of the Norse version;[416] by others, that the Scandinavians, not the Germans, borrowed the story; and by others still, that the epics, while proceeding from a common cradle, are of independent growth. The last theory is the most tenable.[417] Concerning the history of the Nibelungenlied, it has been maintained that since, during the twelfth century, when no poet would adopt any other poet's stanzaic form, the Austrian Von Kürenberg used the stanzaic form of the Nibelungenlied, the epic must be his.[418] It has also been urged that the poem, having been written down about 1140, was altered in metrical form by younger poets, until, in 1200 or thereabouts, it assumed the form preserved in the latest of the three great manuscripts.[419] But the theory advanced by Lachmann is still of great value: that the poem consists of a number of ancient ballads of various age and uneven worth; and that, about 1210, a collector, mending some of the ballads to suit himself, strung them together on a thread of his own invention.

In fine, the materials of the poem would persuade us not only of its origin in very ancient popular lays, but of their fusion and improvement by the imaginative effort of at least one, and probably of several poets, who lived and wrote between 1120 and 1200 A.D. The metrical structure, also, would indicate derivation from the German folk song and modification due to multifarious handling on the part of popular minstrels and poets of written verse.[420]

=302. Records of Oriental Mythology: Egyptian.=[421] Although the myths of Egypt, India, and Persia are of intense interest and importance, they have not materially affected English literature. The following is, however, a brief outline of the means by which some of them have been preserved.

The Egyptian records are (1) _The Hieroglyphs_, or sacred inscriptions in Tombs of the Kings, and other solemn places,--conveying ideas by symbols, by phonetic signs, or by both; (2) _The Sacred Papyri_, containing hymns to the gods; (3) _The_ _Books of the Dead_ and of the _Lower Hemisphere_,--devoted to necromantic incantations, prayers for the souls of the departed, and other rituals.

=303. Indian Records.= (1) _The Vedas_, or Holy Scriptures of the Hindus, which fall into four divisions. The most ancient, the Rig-Veda, consists of hymns of an elevated and spiritual character composed by families of Rishis, or psalmists, as far back, perhaps, as 3000 B.C., not later than 1400 B.C. They give us the religious conceptions of the Aryans when they crossed the Himalayas and began to push toward Southern Hindustan. The Sama-Veda is a book of solemn chants and tunes. The Yajur-Veda comprises prayers for sacrificial occasions, and interpretations of the same. The Atharva-Veda shows, as might be expected of the youngest of the series, the influence upon the purer Aryan creed of superstitions borrowed, perhaps, from the aboriginal tribes of India. It contains spells for exorcising demons and placating them.

(2) _The Indian Epics_ of classical standing. They are the Mahâbhârata and the Râmâyana. Scholars differ as to the chronological precedence. The Great Feud of the Bhâratas has the air of superior antiquity because of the numerous hands and generations that have contributed to its composition. The Adventures of Râma, on the other hand, recalls a more primitive stage of credulity and of savage invention. The Mahâbhârata is a storehouse of mythical tradition. It contains several well-rounded epic poems, the most beautiful of which is the Episode of Nala,--a prince who, succumbing to a weakness common to his contemporaries, has gambled away his kingdom. The Great Feud of the Bhâratas is, indeed, assigned to an author--but his name, Vyâsa, means simply the Arranger. The Râmâyana purports to have been written by the poet Vâlmîki. It tells how Sita, the wife of Prince Râma, is carried off to Ceylon by Râvana, king of the demons, and how Râma, by the aid of an army of monkeys, bridges the straits between India and Ceylon and, slaying the demon, recovers his lovely and innocent wife. The resemblance between the plot and that of the Iliad has inclined some scholars to derive the Indian from the Greek epic. But, until the relative antiquity of the poems is established, the Iliad might as well be derived from the Râmâyana. The theory is unsubstantiated. These epics of India lack the artistic spirit and grace of the Iliad and the Odyssey, but they display a keener sympathy with nature and a more romantic appreciation of the loves and sorrows of mankind.

=304. Persian Records.= _The Avesta_, or Sacred Book of the ancient Persians, composed in the Zend language and later translated into medieval Persian,--or Pahlavi,--contains the Gáthás, or hymns of Zoroaster and his contemporaries, and scriptures of as recent a date as the fifth century B.C. Zoroaster, a holy man of God, was the founder or the reformer of the Persian religion. He lived as early as the fourteenth or fifteenth century B.C., and his system became the dominant religion of Western Asia from the time of Cyrus (550 B.C.) to the conquest of Persia by Alexander the Great. The teachings of Zoroaster are characterized by beautiful simplicity, and by an unwavering faith in the ultimate victory of righteousness (Ormuzd) over evil (Ahriman).

FOOTNOTES:

[393] Odyssey 8, 250.

[394] Cf. the experience of Sigurd.

[395] Il Penseroso, II. 103-108.

[396] _Faerie Queene_, 4, 11, 23.

[397] See E. B. Clapp, Greek Morality and Religion as Set forth by Pindar (_Hibbert Journal_, 8, 283).

[398] For other authorities and for a few standard translations of the Greek Classics, see Commentary, § 298.

[399] With regard to translations of these and other Latin poets, see Commentary, § 299.

[400] Based upon Lucian's Lucius or the Ass, and other Greek stories.

[401] Translation in Walter Pater's Marius the Epicurean.

[402] For literature, see Commentary.

[403] Cleasby and Vigfusson's Icelandic-English Dictionary.

[404] F. W. Horn's Geschichte d. Literatur d. Skandinavischen Nordens, 27-42.

[405] Cleasby and Vigfusson's Dictionary; Lüning's Die Edda, 1859.

[406] The Lay of Rig in Snorri's Edda; Vigfusson and Powell's Corpus Poeticum Boreale, 2, 514.

[407] Jacob Grimm.

[408] The Celtic _aideadh_: Professor Rhys, _Academy_, January 31, 1880.

[409] Arne Magnússon, see Morley's English Writers, 2, 336, and Murray's New English Dictionary.

[410] Corpus Poeticum Boreale, 1; xxvii, etc.

[411] Corpus Poeticum Boreale, 1; lxxi; lxiii-lxiv.

[412] For literature, see Commentary.

[413] Paul's Grundriss d. Germanischen Philologie: Bd. 1, Lfg. 5, _Mythologie_.

[414] Morris and Magnusson's The Story of the Volsungs and Nibelungs. Horn's Geschichte d. Literatur d. Skandinavischen Nordens, 27-42, 58, etc.

[415] Werner Hahn, Das Nibelungenlied.

[416] The Grimm Brothers; v. d. Hagen; Vilmar.

[417] Werner Hahn; Jas. Sime, Encyc. Brit. _Nibelungenlied_.

[418] Pfeiffer.

[419] Bartsch, see Encyc. Brit.

[420] Werner Hahn, 18, 58-60.

[421] For translations of Oriental Myths, see Commentary. For mythical personages, see Index and Dictionary.

COMMENTARY[422]

[It is hoped that this Commentary may be useful to general readers, to students of art, and to teachers in the secondary schools, as well as to pupils. The cross references are always to sections; and the section numbers correspond with those of the text in the body of the book. The letter C. prefixed to a number indicates Commentary.]

=3. Chaos=: a gap. Compare the "Beginning Gap" of Norse mythology. =Eros=: a yearning. =Erebus=: black, from root meaning _to cover_.

=4. Uranus= (Greek _Ouranos_) corresponds with the name of the Indian divinity Varunas, root _var_, 'to cover.' Uranus is the starry vault that covers the earth; Varunas became the rain-giving sky. =Titan=: the honorable, powerful; the king; later, the signification was limited to the sun. =Oceanus= probably means _flood_. =Tethys=: the nourisher, nurse. =Hyperion=: the wanderer on high;[423] the sun. =Thea=: the beautiful, shining; the moon. She is called by Homer Euryphaëssa, the far-shining. =Iapetus=: the sender, hurler, wounder. =Themis=: that which is established, law. =Mnemosyne=: memory. Other Titans were C[oe]us and Ph[oe]be, figurative of the radiant lights of heaven; Creüs and Eurybië, mighty powers, probably of the sea; Ophion, the great serpent, and Eurynome, the far-ruling, who, according to Apollonius of Rhodes, held sway over the Titans until Cronus cast them into the Ocean, or into Tartarus.

=Cronus= (Greek _Kronos_) is, as his name shows, the god of ripening, harvest, maturity. =Rhea= comes from Asia Minor, and was there worshiped as the Mother Earth, dwelling creative among the mountains. Cronus (_Kronos_) has been naturally, but wrongly, identified with Chronos, the personification of _Time_, which, as it brings all things to an end, devours its own offspring; and also with the Latin Saturn, who, as a god of agriculture and harvest, was represented with pruning-knife in hand, and regarded as the lord of an ancient golden age.

The three =Cyclopes= were Brontes, Steropes, and Arges. Cyclops means the round-eyed. The =Hecatonchires= were Briareus, the strong, called also Ægæon; Cottus, the striker; Gyes, or Gyges, the vaulter, or crippler. Gyges is called by Horace (Carm. 2, 17, 14) Centimanus,--the hundred-handed.

=_Illustrative._= Milton, in Paradise Lost, 10, 581, refers to the tradition of Ophion and Eurynome, who "had first the rule of high Olympus, thence by Saturn driven." =Hyperion=: see Shakespeare's Hamlet, "Hyperion's curls, the front of Jove himself." Also Henry V, IV, i; Troilus and Cressida, II, iii; Titus Andronicus, V, iii; Gray, Progress of Poesy, "Hyperion's march they spy, and glittering shafts of war"; Spenser, Prothalamion, "Hot Titans beames." On =Oceanus=, Ben Jonson, Neptune's Triumph. On =Saturn=, see Shakespeare, Much Ado About Nothing, I, iii; 2 Henry IV, II, iv; Cymbeline, II, v; Titus Andronicus, II, iii; IV, iii; Milton, Paradise Lost, 1. 512, 519, 583, and Il Penseroso, 24. See Robert Buchanan, Cloudland, "One like a Titan cold," etc.; Keats, Hyperion; B. W. Procter, The Fall of Saturn.

=_In Art._= Helios (Hyperion) rising from the sea: sculpture of eastern pediment of the frieze of the Parthenon (British Museum). Mnemosyne: D. G. Rossetti (crayons and oil).

=5.= Homer makes Zeus (Jupiter) the oldest of the sons of Cronus; Hesiod makes him the youngest, in accordance with a widespread savage custom which makes the youngest child heir in chief.--LANG, Myth, Ritual, etc., 1, 297. According to other legends Zeus was born in Arcadia, or even in Epirus at Dodona, where was his sacred grove. He was in either case reared by the nymphs of the locality. According to Hesiod, Theog. 730, he was born in a cave of Mount Dicte, in Crete.

=6. Atlas=, according to other accounts, was not doomed to support the heavens until after his encounter with Perseus.

=8.= See Milton's Hymn on the Nativity, "Not =Typhon= huge ending in snaky twine." The monster is also called Typhoeus (Hesiod, Theog. 1137). The name means _to smoke_, _to burn_. The monster personifies fiery vapors proceeding from subterranean places. Other famous =Giants= were Mimas, Polybotes, Ephialtes, Rh[oe]tus, Clytius. See Preller, 1, 60. Briareus (really a Centimanus) is frequently ranked among the giants.

=_Illustrative._= Shakespeare, Troilus and Cressida, I, ii; Milton, Paradise Lost, 1, 199, and Hymn on the Nativity, 226; M. Arnold, Empedocles, Act 2; Pope, Dunciad, 4, 66. For giants, in general, see Milton, Paradise Lost, 3, 464; 11. 642, 688; Samson Agonistes, 148.

=10-15. Prometheus=: forethought.[424] =Epimetheus=: afterthought. According to Æschylus (Prometheus Bound) the doom of Zeus (Jupiter) was only contingent. If he should refuse to set Prometheus free and should, therefore, ignorant of the secret, wed Thetis, of whom it was known to Prometheus that her son should be greater than his father, then Zeus would be dethroned. If, however, Zeus himself delivered Prometheus, that Titan would reveal his secret and Zeus would escape both the marriage and its fateful result. The Prometheus Unbound of Æschylus is lost; but its name indicates that in the sequel the Titan is freed from his chains. And from hints in the Prometheus Bound we gather that this liberation was to come about in the way mentioned above, Prometheus warning Zeus to marry Thetis to Peleus (whose son, Achilles, proved greater than his father,--see =191=); or by the intervention of Hercules who was to be descended in the thirteenth generation from Zeus and Io (see =161= and =C. 149=); or by the voluntary sacrifice of the Centaur Chiron, who, when Zeus should hurl Prometheus and his rock into Hades, was destined to substitute himself for the Titan, and so by vicarious atonement to restore him to the life of the upper world. In Shelley's great drama of Prometheus Unbound, the Zeus of tyranny and ignorance and superstition is overthrown by Reason, the gift of Prometheus to mankind. =Sicyon= (or Mecone): a city of the Peloponnesus, near Corinth.

_=Illustrative.=_ Milton, Paradise Lost, "More lovely than =Pandora= whom the gods endowed with all their gifts." Shakespeare, Titus Andronicus, II, i, 16.

_=Poems.=_ D. G. Rossetti, Pandora; Longfellow, Masque of Pandora, Prometheus, and Epimetheus; Thos. Parnell, Hesiod, or the Rise of Woman. =Prometheus=, by Byron, Lowell, H. Coleridge, Robert Bridges; Prometheus Bound, by Mrs. Browning; translations of Æschylus, Prometheus Bound, Augusta Webster, E. H. Plumptre; Shelley, Prometheus Unbound; R. H. Horne, Prometheus, the Fire-bringer; E. Myers, The Judgment of Prometheus; George Cabot Lodge, Herakles, a drama. See Byron's Ode to Napoleon Buonaparte. =The Golden Age=: Chaucer, The Former Age (_Ætas Prima_); Milton, Hymn on the Nativity.

_=In Art.=_ Ancient: Prometheus Unbound, vase picture (Monuments Inédits, Rome and Paris). Modern: Thorwaldsen's sculpture, Minerva and Prometheus. Pandora: Sichel (oil), Rossetti (crayons and oil), F. S. Church (water colors).

=16. Dante= (_Durante_) =degli Alighieri= was born in Florence, 1265. Banished by his political opponents, 1302, he remained in exile until his death, which took place in Ravenna, 1321. His Vita Nuova (New Life), recounting his ideal love for Beatrice Portinari, was written between 1290 and 1300; his great poem, the Divina Commedia (the Divine Comedy) consisting of three parts,--Inferno, Purgatorio, Paradiso,--during the years of his exile. Of the Divine Comedy, says Lowell, "It is the real history of a brother man, of a tempted, purified, and at last triumphant human soul." =John Milton= (b. 1608) was carried by the stress of the civil war, 1641-1649, away from poetry, music, and the art which he had sedulously cultivated, into the stormy sea of politics and war. Perhaps the severity of his later sonnets and the sublimity of his Paradise Lost, Paradise Regained, and Samson Agonistes are the fruit of the stern years of controversy through which he lived, not as a poet, but as a statesman and a pamphleteer. =Cervantes= (1547-1616), the author of the greatest of Spanish romances, Don Quixote. His life was full of adventure, privation, suffering, with but brief seasons of happiness and renown. He distinguished himself at the battle of Lepanto, 1571; but in 1575, being captured by Algerine cruisers, he remained five years in harsh captivity. After his return to Spain he was neglected by those in power. For full twenty years he struggled for his daily bread. Don Quixote was published in and after 1605. =Corybantes=: the priests of Cybele, whose festivals were violent, and whose worship consisted of dances and noise suggestive of battle.

=18. Astræa= was placed among the stars as the constellation Virgo, the virgin. Her mother was Themis (Justice). Astræa holds aloft a pair of scales, in which she weighs the conflicting claims of parties. The old poets prophesied a return of these goddesses and of the Golden Age. See also Pope's Messiah,--

All crimes shall cease, and ancient fraud shall fail, Returning Justice lift aloft her scale:

and Milton's Hymn on the Nativity, 14, 15. In Paradise Lost, 4, 998 _et seq._, is a different conception of the golden scales, "betwixt Astræa and the Scorpion sign." Emerson moralizes the myth in his Astræa.

=19-20. _Illustrative._= B. W. Procter, The Flood of Thessaly. See Ovid's famous narrative of the Four Ages and the Flood, Metamorphoses, 1, 89-415. =Deucalion=: Bayard Taylor, Prince Deukalion; Milton, Paradise Lost, 11, 12.

_=Interpretative.=_ This myth combines two stories of the origin of the Hellenes, or indigenous Greeks,--one, in accordance with which the Hellenes, as earthborn, claimed descent from Pyrrha (the red earth); the other and older, by which Deucalion was represented as the only survivor of the flood, but still the founder of the race (Greek laós), which he created by casting stones (Greek lâes) behind him. The myth, therefore, proceeds from an unintended pun. Although, finally, Pyrrha was by myth-makers made the wife of Deucalion, the older myth of the origin of the race from stones was preserved. See Max Müller, Sci. Relig., London, 1873, p. 64.

=21.= For genealogy of the race of Inachus, Phoroneus, Pelasgus, and Io, see Table D. Pelasgus is frequently regarded as the grandson, not the son, of Phoroneus. For the descendants of Deucalion and Hellen, see Table I of this commentary.

=22.= In the following genealogical table (A), the names of the great gods of Olympus are printed in heavy-face type. Latin forms of names or Latin substitutes are used.

_=Illustrative.=_ On the =Gods of Greece=, see E. A. Bowring's translation of Schiller's Die Götter Griechenlands, and Bayard Taylor's Masque of the Gods. On =Olympus=, see Lewis Morris, The Epic of Hades. Allusions abound; _e.g._ Shakespeare, Troilus and Cressida, III, iii; Julius Cæsar, III, i; IV, iii; Hamlet, V, i; Milton, Paradise Lost, 1, 516; 7, 7; 10, 583; Pope, Rape of the Lock, 5, 48, and Windsor Forest, 33, 234; E. C. Stedman, News from Olympia. See also E. W. Gosse, Greece and England (On Viol and Flute).

=23. The Olympian Gods.= There were, according to Mr. Gladstone (_No. Am._ _Rev._ April, 1892), about twenty Olympian deities:[425] (1) The five really great gods, Zeus, Hera, Poseidon, Apollo, and Athene; (2) Hephæstus, Ares, Hermes, Iris, Leto, Artemis, Themis, Aphrodite, Dione, Pæëon (or Pæon), and Hebe,--also usually present among the assembled immortals; (3) Demeter, Persephone, Dionysus, and Thetis, whose claims are more or less obscured. According to the same authority, the =Distinctive Qualities of the Homeric Gods= were as follows: (1) they were immortal; (2) they were incorporated in human form; (3) they enjoyed power far exceeding that possessed by mortals; (4) they were, however (with the possible exception of Athene, who is never ignorant, never deceived, never baffled), all liable to certain limitations of energy and knowledge; (5) they were subject also to corporeal wants and to human affections. The =Olympian= =Religion=, as a whole, was more careful of nations, states, public affairs, than of individuals and individual character; and in this respect, according to Mr. Gladstone. it differs from Christianity. He holds, however, that despite the occasional immoralities of the gods, their general government not only "makes for righteousness," but is addressed to the end of rendering it triumphant. Says Zeus, for instance, in the Olympian assembly, "Men complain of us the gods, and say that we are the source from whence ills proceed; but they likewise themselves suffer woes outside the course of destiny, through their own perverse offending." But, beside this general effort for the triumph of right, there is little to be said in abatement of the general proposition that, whatever be their collective conduct, the common speech of the gods is below the human level in point of morality.[426]

=24-25. Zeus.= In Sanskrit _Dyaus_, in Latin _Jovis_, in German _Tiu_. The same name for the Almighty (the Light or Sky) used probably thousands of years before Homer, or the Sanskrit Bible (the Vedas). It is not merely the blue sky, nor the sky personified,--not merely worship of a natural phenomenon, but of the Father who is in Heaven. So in the Vedas we find _Dyaus pitar_, in the Greek _Zeu_ _pater_, in Latin _Jupiter_ all meaning _father of light_.--MAX MÜLLER, Sci. Relig. 171, 172. =Oracle=: the word signifies also the answers given at the shrine.

_=Illustrative.=_ Allusions to Jove on every other page of Milton, Dryden, Pope, Prior, Gray, and any poet of the Elizabethan and Augustan periods. On the =Love Affairs of Jupiter= and the other gods, see Milton, Paradise Regained, 2, 182. =Dodona=: Tennyson's Talking Oak:

That Thessalian growth, On which the swarthy ringdove sat, And mystic sentence spoke....

Poem: Lewis Morris, Zeus, in The Epic of Hades.

_=In Art.=_ Beside the representations of Jupiter noted in the text may be mentioned that on the eastern frieze of the Parthenon; the Jupiter Otricoli in the Vatican; also the Jupiter and Juno (painting) by Annibale Carracci; the Jupiter (sculpture) by Benvenuto Cellini.

TABLE A. THE GREAT GODS OF OLYMPUS

Uranus =Gæa +-- Cronus | =Rhea | +-- =Vesta= | +-- Ceres | +-- =Juno= | | +=Jupiter= | | +-- Hebe | | +-- =Mars= | | +-- =Vulcan= | +-- Pluto | +-- Neptune | +-- =Jupiter= | +-- Minerva | ==Juno= | +-- Hebe (see above) | +-- =Mars= (see above) | +-- =Vulcan= (see above) | =Latona | +-- =Apollo= | +-- =Diana= | =Dione | +-- =Venus= | =Maia | +-- =Mercury= | =Ceres | +-- Proserpina | =Semele | +-- Bacchus | =Alcmene | +-- Hercules +-- Rhea | =Cronus | +-- Vesta (see above) | +-- Ceres (see above) | +-- Juno (see above) | +-- Pluto (see above) | +-- Neptune (see above) | +-- Jupiter (see above) +-- C[oe]us | =Ph[oe]be | +-- Latona | =Jupiter | +-- Apollo (see above) | +-- Diana (see above) +-- Ph[oe]be | =C[oe]us | +-- Latona (see above) +-- Iapetus +-- Epimethius | +-- Dione | =Jupiter | +-- Venus (see above) +-- Prometheus +-- Atlas +-- Maia =Jupiter +-- Mercury (see above)

=26. Juno= was called by the Romans Juno Lucina, the special goddess of childbirth. In her honor wives held the festival of the Matronalia on the first of March of each year. The Latin =Juno= is for _Diou-n-on_, from the stem _Diove_, and is the feminine parallel of Jovis, just as the Greek Dione (one of the loves of Zeus) is the feminine of Zeus. These names (and Diana, too) come from the root _div_, 'to shine,' 'to illumine.' There are many points of resemblance between the Italian Juno and the Greek Dione (identified with Hera, as Hera-Dione). Both are goddesses of the moon (?), of women, of marriage; to both the cow (with moon-crescent horns) is sacred. See Roscher, 21, 576-579. But Overbeck insists that the loves of Zeus are deities of the earth: "The rains of heaven (Zeus) do not fall upon the moon."

_=Illustrative.=_ W. S. Landor, Hymn of Terpander to Juno; Lewis Morris, Heré, in The Epic of Hades.

=_In Art._= Of the statues of Juno the most celebrated was that made by Polyclitus for her temple between Argos and Mycenæ. It was of gold and ivory. See Paus. 2, 17, 4. The goddess was seated on a throne of magnificent proportions; she wore a crown upon which were figured the Graces and the Hours; in one hand she held a pomegranate, in the other a scepter surmounted by a cuckoo. Of the extant representations of Juno the most famous are the Argive Hera (Fig. 9 in the text), the torso in Vienna from Ephesus, the Hera of the Vatican at Rome, the bronze statuette in the Cabinet of Coins and Antiquities in Vienna, the Farnese bust in the National Museum in Naples, the Ludovisi bust in the villa of that name in Rome, the Pompeian wall painting of the marriage of Zeus and Hera (given by Baumeister, Denkmäler 1, 649; see also Roscher, 13, 2127), and the Juno of Lanuvium.

=27. Athenë= (Athena) has some characteristics of the warlike kind in common with the Norse Valkyries, but she is altogether a more ideal conception. The best description of the goddess will be found in Homer's Iliad, 5, 730 _et seq._

The derivation of =Athene= is uncertain (Preller). Related, say some, to _æth[=e]r_, #aithêr#, the clear upper air; say others, to the word _anthos_, #anthos#, 'a flower'--virgin bloom; or (see Roscher, p. 684) to _ath[=e]r_, #athêr#, 'spear point.' Max Müller derives Athene from the root _ah_, which yields the Sanskrit Ahanâ and the Greek Daphne, the Dawn (?). Hence Athene is the Dawn-goddess; but she is also the goddess of wisdom, because "the goddess who caused people to wake was involuntarily conceived as the goddess who caused people to know" (Science of Language, 1, 548-551). This is poor philology.

Epithets applied to Athene are the bright-eyed, the gray-eyed, the ægis-bearing, the unwearied daughter of Zeus.

The festival of the =Panathenæa= was celebrated at Athens yearly in commemoration of the union of the Attic tribes. See =C. 176-181=.

The name =Pallas= characterizes the goddess as the _brandisher_ of lightnings. Her Palladium--or sacred image--holds always high in air the brandished lance.

=Minerva=, or =Menerva=, is connected with Latin _mens_, Greek _ménos_, Sanskrit _manas_, 'mind'; not with the Latin _mane_, 'morning.' The relation is not very plausible between the awakening of the day and the awakening of thought (Max Müller, Sci. Lang, 1, 552).

For the meaning of the Gorgon, see Commentary on the myth of Perseus.

_=Illustrative=_. Byron, Childe Harold, 4, 96, the eloquent passage beginning,

Can tyrants but by tyrants conquer'd be, And Freedom find no champion and no child Such as Columbia saw arise when she Sprung forth a Pallas, arm'd and undefiled?

Shakespeare, Tempest, IV, i; As You Like It, I, iii; Winter's Tale, IV, iii; Pericles, II, iii; Milton, Paradise Lost, 4, 500; Comus, 701; Arcades, 23; Lewis Morris' Athene, in The Epic of Hades; Byron, Childe Harold, 2. 1-15, 87, 91; Ruskin's Lectures entitled "The Queen of the Air" (Athene); Thomas Woolner's Pallas Athene, in Tiresias.

_=In Art.=_ The finest of the statues of this goddess was by Phidias, in the Parthenon, or temple of Athena, at Athens. The Athena of the Parthenon has disappeared; but there is good ground to believe that we have, in several extant statues and busts, the artist's conception. (See Frontispiece, the Lemnian Athena, and Fig. 53, the Hope Athena, ancient marble at Deepdene, Surrey.) The figure is characterized by grave and dignified beauty, and freedom from any transient expression; in other words, by repose. The most important copy extant is of the Roman period. The goddess was represented standing; in one hand a spear, in the other a statue of Victory. Her helmet, highly decorated, was surmounted by a Sphinx. The statue was forty feet in height, and, like the Jupiter, covered with ivory and gold. The eyes were of marble, and probably painted to represent the iris and pupil. The Parthenon, in which this statue stood, was also constructed under the direction and superintendence of Phidias. Its exterior was enriched with sculptures, many of them from the hand of the same artist. The Elgin Marbles now in the British Museum are a part of them. Also remarkable are the Minerva Bellica (Capitol, Rome); the Athena of the Acropolis Museum; the Athena of the Ægina Marbles (Glyptothek, Munich); the Minerva Medica (Vatican); the Athena of Velletri in the Louvre. (See Fig. 10.) In modern sculpture, especially excellent are Thorwaldsen's Minerva and Prometheus, and Cellini's Minerva (on the base of his Perseus). In modern painting, Tintoretto's Minerva defeating Mars.

=28.= While the Latin god =Mars= corresponds with Ares, he has also not a few points of similarity with the Greek Ph[oe]bus; for both names, Mars and Ph[oe]bus, indicate the quality _shining_. In Rome, the Campus Martius (field of Mars) was sacred to this deity. Here military maneuvers and athletic contests took place; here Mars was adored by sacrifice, and here stood his temple, where his priests, the Salii, watched over the sacred spear and the shield, _Ancile_, that fell from heaven in the reign of Numa Pompilius. Generals supplicated Mars for victory, and dedicated to him the spoils of war. See Roscher, pp. 478, 486, on the fundamental significance, philosophical and physical, of _Ares_. On the derivation of the Latin name _Mars_, see Roscher (end of article on Apollo).

_=Illustrative in Art.=_ Of archaic figures, that upon the so-called François Vase in Florence represents =Ares= bearded and with the armor of a Homeric warrior. In the art of the second half of the fifth century B.C., he is represented as beardless, standing with spear and helmet and, generally, _chlamys_ (short warrior's cloak); so the marble Ares statue (called the Borghese Achilles) in the Louvre. There is a later type (preferred in Rome) of the god in Corinthian helmet pushed back from the forehead, the right hand leaning on a spear, in the left a sword with point upturned, over the left arm a _chlamys_. The finest representation of the deity extant is the _Ares Ludovisi_ in Rome, probably of the second half of the fourth century B.C.,--a sitting figure, beautiful in form and feature, with an Eros playing at his feet. (See Fig. 11.) Modern sculpture: Thorwaldsen's relief, Mars and Cupid. Modern painting, Raphael's Mars (text, Fig. 12).

=29.= On the derivation of =Hephæstus=, see Roscher, p. 2037. From Greek _aph[=e]_, 'to kindle,' or _pha_, 'to shine,' or _spha_, 'to burn.' The Latin =Vulcan=, while a god of fire, is not represented by the Romans as possessed of technical skill. It is said that Romulus built him a temple in Rome and instituted the Vulcanalia,--a festival in honor of the god. The name _Vulcanus_, or _Volcanus_, is popularly connected with the Latin _fulgere_, 'to flash' or 'lighten,' _fulgur_ a 'flash of lightning,' etc. It is quite natural that, in many legends, fire should play an active part in the creation of man. The primitive belief of the Indo-Germanic race was that the fire-god, descending to earth, became the first man; and that, therefore, the spirit of man was composed of fire. Vulcan is also called by the Romans Mulciber, from _mulceo_, 'to soften.'

_=Illustrative.=_ Shakespeare, Twelfth Night, V, i; Much Ado About Nothing, I, i; Troilus and Cressida, I, iii; Hamlet, III, ii; Milton, Paradise Lost, 1, 740:

From morn To noon he fell, from noon to dewy eve, A summer's day; and with the setting sun Dropt from the zenith, like a falling star, On Lemnos, the Ægean isle.

_=In Art.=_ Various antique illustrations are extant of the god as a smith with hammer, or at the forge (text, Fig. 13); one of him working with the Cyclopes; a vase painting of him adorning Pandora; one of him assisting at the birth of Minerva; and one of his return to Olympus led by Bacchus and Comus. Of modern paintings the following are noteworthy: J. A. Wiertz, Forge of Vulcan; Velasquez, Forge of Vulcan (Museum, Madrid) (text, Fig. 56); the Forge of Vulcan by Tintoretto. Thorwaldsen's piece of statuary, Vulcan forging Arrows for Cupid, is justly famous.

=30. Castalia=: on the slopes of Parnassus, sacred to Apollo and the Muses. =Cephissus=: in Phocis and B[oe]otia. (Another Cephissus flows near Athens.)

_=Interpretative.=_ The birth, wanderings, return of =Apollo=, and his struggle with the Python, etc., are explained by many scholars as symbolic of the annual course of the sun. Apollo is born of Leto, who is, according to hypothesis, the Night from which the morning sun issues. His conflict with the dragon reminds one of Siegfried's combat and that of St. George, The =dragon= is variously interpreted as symbolical of darkness, mephitic vapors, or the forces of winter, which are overcome by the rays of the springtide sun. The dragon is called Delphyne, or Python. The latter name may be derived simply from that part of Phocis (Pytho) where the town of Delphi was situate, or that again from the Greek root _p[=u]th_, 'to rot,' because there the serpent was left by Apollo to decay; or from the Greek _p[)u]th_, 'to inquire,' with reference to the consultation of the Delphian or Pythian oracle. "It is open to students to regard the =dolphin= as only one of the many animals whose earlier worship is concentrated in Apollo, or to take the creature for the symbol of spring when seafaring becomes easier to mortals, or to interpret the dolphin as the result of a _volks-etymologie_ (popular derivation), in which the name _Delphi_ (meaning originally a hollow in the hills) was connected with _delphis_, the dolphin."--LANG, Myth, Ritual, etc., 2, 197. Apollo is also called =Lycius=, which means, not the wolf-slayer, as is sometimes stated, for the wolf is sacred to Apollo, but either the wolf-god (as inheriting an earlier wolf-cult) or the golden god of Light. See Preller and Roscher. This derivation is more probable than that from _Lycia_ in Asia Minor, where the god was said originally to have been worshiped. To explain certain rational myths of Apollo as referring to the annual and diurnal journeys of the sun is justifiable. To explain the savage and senseless survivals of the Apollo-myth in that way is impossible.

=Festivals.= The most important were as follows: (1) The =Delphinia=, in May, to celebrate the genial influence of the young sun upon the waters, in opening navigation, in restoring warmth and life to the creatures of the wave, especially to the dolphins, which were highly esteemed by the superstitious seafarers, fishermen, merchants, etc. (2) The =Thargelia=, in the Greek month of that name, our May, which heralded the approach of the hot season. The purpose of this festival was twofold: to propitiate the deity of the sun and forfend the sickness of summer; to celebrate the ripening of vegetation and return thanks for first-fruits. These festivals were held in Athens, Delos, and elsewhere. (3) The =Hyacinthian= fast and feast of Sparta, corresponding in both features to the Thargelian. It was held in July, in the oppressive days of the Dog Star, Sirius. (4) The =Carnean= of Sparta, celebrated in August. It added to the propitiatory features of the Hyacinthian, a thanksgiving for the vintage. (5) Another vintage-festival was the =Pyanepsian=, in Athens. (6) The =Daphnephoria=: "Familiar to many English people from Sir Frederick Leighton's picture. This feast is believed to have symbolized the year.... An olive branch supported a central ball of brass, beneath which was a smaller ball, and thence little globes were hung." "The greater ball means the sun, the smaller the moon, the tiny globes the stars, and the three hundred and sixty-five laurel garlands used in the feast are understood to symbolize the days." (_Proclus and Pausanias._)--LANG, Myth, Ritual, etc., 2. 194, 195. Apollo is also called the =Sminthian=, or Mouse-god, because he was regarded either as the protector or as the destroyer of mice. In the Troad mice were fed in his temple; elsewhere he was honored as freeing the country from them. As Mr. Lang says (Myth, Ritual, etc., 2, 201), this is intelligible "if the vermin which had once been sacred became a pest in the eyes of later generations."

=Oracle of Delphi.= It had been observed at a very early period that the goats feeding on Parnassus were thrown into convulsions when they approached a certain long deep cleft in the side of the mountain. This was owing to a peculiar vapor arising out of the cavern, and a certain goatherd is said to have tried its effects upon himself. Inhaling the intoxicating air, he was affected in the same manner as the cattle had been; and the inhabitants of the surrounding country, unable to explain the circumstance, imputed the convulsive ravings to which he gave utterance while under the power of the exhalations to a divine inspiration. The fact was speedily spread abroad, and a temple was erected on the spot. The prophetic influence was at first variously attributed to the goddess Earth, to Neptune, Themis, and others, but it was at length assigned to Apollo, and to him alone. A priestess was appointed whose office it was to inhale the hallowed air, and she was named the Pythia. She was prepared for this duty by previous ablution at the fountain of Castalia, and being crowned with laurel was seated upon a tripod similarly adorned, which was placed over the chasm whence the divine afflatus proceeded. Her inspired words while thus situated were interpreted by the priests.

Other famous oracles were that of =Trophonius= in B[oe]otia and that of the Egyptian =Apis=. Since those who descended into the cave at Lebadea to consult the oracle of Trophonius were noticed to return dejected and melancholy, the proverb arose which was applied to a low-spirited person, "He has been consulting the oracle of Trophonius."

At Memphis the sacred bull Apis gave answer to those who consulted him, by the manner in which he received or rejected what was presented to him. If the bull refused food from the hand of the inquirer, it was considered an unfavorable sign, and the contrary when he received it.

It used to be questioned whether oracular responses ought to be ascribed to mere human contrivance or to the agency of evil spirits. The latter opinion would of course obtain during ages of superstition, when evil spirits were credited with an influence over human affairs. A third theory has been advanced since the phenomena of mesmerism have attracted attention: that something like the mesmeric trance was induced in the Pythoness, and the faculty of clairvoyance called into action.

Scholars have also sought to determine when the pagan oracles ceased to give responses. Ancient Christian writers assert that they became silent at the birth of Christ, and were heard no more after that date; Milton adopts this view in his Hymn on the Nativity, and in lines of solemn and elevated beauty pictures the consternation of the heathen idols at the advent of the Saviour:

The Oracles are dumb; No voice or hideous hum Runs through the archèd roof in words deceiving. Apollo from his shrine Can no more divine, With hollow shriek the steep of Delphos leaving. No nightly trance, or breathèd spell Inspires the pale-eyed priest from the prophetic cell.

_=Illustrative.=_ Spenser, Faerie Queene, 1, 2, 2; 1, 2, 29; 1, 11, 31; 1, 12, 2. Sir Philip Sidney, Astrophel and Stella; as, for instance, the pretty conceit beginning

Ph[oe]bus was judge between Jove, Mars, and Love, Of those three gods, whose arms the fairest were.

Dekker, The Sun's Darling; Burns (as in the Winter Night) and other Scotch song-writers find it hard to keep Ph[oe]bus out of their verses; Spenser, Epithalamion; Shakespeare, Midsummer Night's Dream, II, i (Apollo and Daphne); Cymbeline (Cloten's Serenade); Love's Labour's Lost, IV, iii; Taming of the Shrew, Induction ii; Winter's Tale, II, i; III, i; III, ii; Titus Andronicus, IV, i; Drayton, Song 8; Tickell, To Apollo making Love; Swift, Apollo Outwitted; Pope, Essay on Criticism, 34; Dunciad, 4, 116; Prologue to Satires, 231; Miscellaneous, 7, 16; Armstrong, The Art of Preserving Health.

_=Poems.=_ Drummond of Hawthornden, Song to Ph[oe]bus; Keats, Hymn to Apollo; A. Mary F. Robinson, A Search for Apollo, and In Apollo's Garden; Shelley, Homer's Hymn to Apollo; Aubrey De Vere, Lines under Delphi; Lewis Morris, Apollo, in The Epic of Hades; R. W. Dixon, Apollo Pythius.

=The Python.= Milton, Paradise Lost, 10, 531; Shelley, Adonais. =Oracles.= Milton, Paradise Lost, 1. 12, 515; 5, 382; 10, 182; Paradise Regained, 1. 395, 430, 456, 463; 3, 13; 4, 275; Hymn on the Nativity, 173. In Cowper's poem of Yardley Oak there are mythological allusions appropriate to this subject. On Dodona, Byron, Childe Harold, 2, 53; Tennyson, The Talking Oak. Byron alludes to the oracle of Delphi when speaking of Rousseau, whose writings he conceives did much to bring on the French Revolution: Childe Harold, 3, 81,--

For then he was inspired, and from him came, As from the Pythian's mystic cave of yore, Those oracles which set the world in flame, Nor ceased to burn till kingdoms were no more.

_=In Art.=_ One of the most esteemed of all the remains of ancient sculpture is the statue of Apollo, called the Belvedere from the name of the apartment of the Pope's palace at Rome in which it is placed (see Fig. 15). The artist is unknown. It is conceded to be a work of Roman art, of about the first century of our era (and follows a type fashioned by a Greek sculptor of the Hellenistic period, probably in bronze). A variation of the type has been discovered in a bronze statuette which represents Apollo holding in the left hand an ægis. Some scholars have therefore surmised that the Apollo of the original was similarly equipped. The Belvedere Apollo, however, is a standing figure, in marble, more than seven feet high, naked except for the cloak which is fastened around the neck and hangs over the extended left arm. It is restored to represent the god in the moment when he has shot the arrow to destroy the monster Python. The victorious divinity is in the act of stepping forward. The left arm which seems to have held the bow is outstretched, and the head is turned in the same direction. In attitude and proportion the graceful majesty of the figure is unsurpassed. The effect is completed by the countenance, where, on the perfection of youthful godlike beauty, there dwells the consciousness of triumphant power. To this statue Byron alludes in Childe Harold, 4, 161:

Or view the Lord of the unerring bow, The God of life, and poetry, and light,-- The Sun, in human limbs arrayed, and brow All radiant from his triumph in the fight; The shaft hath just been shot--the arrow bright With an immortal's vengeance; in his eye And nostril, beautiful disdain, and might And majesty flash their full lightnings by, Developing in that one glance the Deity.

The standing figure in our text reproduces this conception.[427] Also famous in sculpture are the "Adonis" Apollo of the Vatican (Fig. 14, text); the Greek bronze from Thessaly (Fig. 16, text); the Palatine Apollo in the Vatican (Fig. 66, text); the Apollo Cithar[oe]dus of the National Museum, Naples, and the Glyptothek, Munich; the Lycian Apollo; the Apollo Nomios; Apollo of Thera; the Apollo of Michelangelo (National Museum, Florence). A painting of romantic interest is Paolo Veronese's St. Christina refusing to adore Apollo. Of symbolic import is the Apollo (Sunday) by Raphael in the Vatican. Ph[oe]bus and Boreas by J. F. Millet.

=32. Latona.= A theory of the numerous =love-affairs= of Jupiter is given in =24= of the text. =Delos= is the central island of the Cyclades group in the Ægean. With its temple of Apollo it was exceedingly prosperous.

_=Interpretative.=_ Latona (Leto), according to ancient interpreters, was night,--the shadow, therefore, of Juno (Hera), if Hera be the splendor of heaven. But the early myth-makers would hardly have reasoned so abstrusely. It is not at all certain that the name _Leto_ means darkness (Preller 1, 190, note 4); and even if light is born of or after darkness, the sun (Apollo) and the moon (Artemis, or Diana) can hardly be considered to be twins of Darkness (Leto), for they do not illuminate the heavens at the same time.--LANG, Myth, Ritual, etc., 2, 199.

_=Illustrative.=_ Byron's allusion to Delos in Don Juan, 3, 86:

The isles of Greece! the isles of Greece! Where burning Sappho loved and sung, Where grew the arts of war and peace, Where Delos rose, and Ph[oe]bus sprung! Eternal summer gilds them yet, But all, except their sun, is set.

See Milton's Sonnet, "I did but prompt the age to quit their clogs," for allusion to Latona.

_=In Art.=_ In the shrine of Latona in Delos there was, in the days of Athenæus, a shapeless wooden idol.

=Diana.= The Latin =Diana= means either "goddess of the bright heaven," or "goddess of the bright day." She is frequently identified with Artemis, Hecate, Luna, and Selene. According to one tradition, Apollo and Diana were born at =Ortygia=, near Ephesus. =Diana of the Ephesians=, referred to (Acts xix, 28), was a goddess of not at all the maidenly characteristics that belonged to the Greek Artemis (Roscher, p. 591; A. Lang, 2, 217). Other titles of Artemis are Munychia, the moon-goddess; Calliste, the _fair_, or the _she-bear_; Orthia, the _severe_, worshiped among the Taurians with human sacrifices; Agrotera, the _huntress_; Pythia; Eileithyia, goddess of childbirth; Cynthia, born on Mount Cynthus.

_=Illustrative.=_ Spenser, Faerie Queene, 1, 7, 5; 1, 12, 7; Shakespeare, Merchant of Venice, V, i, "Come, ho, and wake Diana with a hymn," etc.; Twelfth Night, I, iv; Midsummer Night's Dream, I, iv; All's Well that Ends Well, I, iii; IV, ii; IV, iv; Butler, Hudibras, 3, 2, 1448. _=Poems=_: B. W. Procter, The Worship of Dian; W. W. Story, Artemis; E. W. Gosse, The Praise of Artemis; E. Arnold, Hymn of the Priestess of Diana; Wordsworth, To Lycoris; Lewis Morris, Artemis, in The Epic of Hades; A. Lang, To Artemis. =Ph[oe]be= (Diana): Spenser, Epithalamion; Keats, To Psyche. =Cynthia= (Diana): Spenser, Prothalamion, Epithalamion; Milton, Hymn on the Nativity; H. K. White, Ode to Contemplation.

_=In Art.=_ In art the goddess is represented high-girt for the chase, either in the act of drawing an arrow from her quiver or watching her missile in its flight. She is often attended by the hind. Sometimes, as moon-goddess, she bears a torch. Occasionally she is clad in a _chiton_, or robe of many folds, flowing to her feet. The Diana of the Hind (_à la Biche_), in the Palace of the Louvre (see Fig. 18), may be considered the counterpart of the Apollo Belvedere. The attitude much resembles that of Apollo, the sizes correspond and also the styles of execution. The Diana of the Hind is a work of a high order, though by no means equal to the Apollo. The attitude is that of hurried and eager motion, the face that of a huntress in the excitement of the chase. The left hand of the goddess is extended over the forehead of the hind which runs by her side, the right arm reaches backward over the shoulder to draw an arrow from the quiver. Fig. 19 in the text is the Artemis Knagia (Diana Cnagia), named after Cnageus, a servant of Diana who assisted in transferring the statue from Crete to Sparta. In Dresden there is a statue of Artemis in the style of Praxiteles (Fig. 68, text); and in the Louvre an ancient marble called the Artemis of Gabii (Fig. 77, text).

In modern painting, noteworthy are the Diana and her Nymphs of Rubens; Correggio's Diana (Fig. 17); Jules Lefebvre's Diana and her Nymphs; Domenichino's Diana's Chase. Note also the allegorical Luna (Monday) of Raphael in the Vatican; and D. G. Rossetti's Diana, in crayons.

=34. _Interpretative._= The worship of =Aphrodite= was probably of Semitic origin, but was early introduced into Greece. The Aphrodite of Hesiod and Homer displays both Oriental and Grecian characteristics. All Semitic nations, except the Hebrews, worshiped a supreme goddess who presided over the moon (or the Star of Love), and over all animal and vegetable life and growth. She was the Istar of the Assyrians, the Astarte of the Ph[oe]nicians, and is the analogue of the Greek Aphrodite and the Latin Venus. See Roscher, p. 390, etc. The native Greek deity of love would appear to have been, however, =Dione=, goddess of the moist and productive soil (=C. 26=), who passes in the Iliad (5. 370, 428) as the mother of Aphrodite, is worshiped at Dodona by the side of Zeus, and is regarded by Euripides as _Thyone_, mother of Dionysus (Preller I, 259).

The epithets and names most frequently applied to Aphrodite are the Paphian, Cypris (the Cyprus-born), Cytherea, Erycina (from Mount Eryx), Pandemos (goddess of vulgar love), Pelagia (Aphrodite of the sea), Urania (Aphrodite of ideal love), Anadyomene (rising from the water); she is, also, the sweetly smiling, laughter-loving, bright, golden, fruitful, winsome, flower-faced, blushing, swift-eyed, golden-crowned.

She had temples and groves in Paphos, Abydos, Samos, Ephesus, Cyprus, Cythera, in some of which--for instance, Paphos--gorgeous annual festivals were held. See Childe Harold, I, 66.

=Venus= was a deity of extreme antiquity among the Romans, but not of great importance until she had acquired certain attributes of the Eastern Aphrodite. She was worshiped as goddess of love, as presiding over marriage, as the goddess who turns the hearts of men, and, later, even as a goddess of victory. A festival in her honor, called the Veneralia, was held in Rome in April.

=_Illustrative._= See Chaucer's Knight's Tale for frequent references to the goddess of love; also the Court of Love; Spenser's Prothalamion, and Epithalamion, "Handmaids of the Cyprian queen"; Shakespeare, Tempest, IV, i; Merchant of Venice, II, vi; Troilus and Cressida, IV, v; Cymbeline, V, v; Romeo and Juliet, II, i; Milton, L'Allegro; Paradise Regained, 2, 214; Comus, 124; Pope, Rape of the Lock 4, 135; Spring, 65; Summer, 61; Thomas Woolner, Pygmalion (Cytherea).

=_Poems._= Certain parts of Shakespeare's Venus and Adonis and occasional stanzas in Swinburne's volume, Laus Veneris, may be adapted to illustrative purposes. Chaucer, The Complaint of Mars and Venus; Thomas Wyatt, The Lover prayeth Venus to conduct him to the Desired Haven. See the melodious chorus to Aphrodite in Swinburne's Atalanta in Calydon; Lewis Morris, Aphrodite, in The Epic of Hades; Thomas Gordon Hake, The Birth of Venus, in New Symbols; D. G. Rossetti, Sonnets; Venus Verticordia, Venus Victrix.

=35. _In Art._= One of the most famous of ancient paintings was the Venus rising from the foam, of Apelles. The Venus found (1820) in the island of Melos, or of Milo (see text, opp. p. 32), now to be seen in the Louvre in Paris, is the work of some sculptor of about the fourth century B.C. Some say that the left hand uplifted held a mirrorlike shield; others, an apple; still others, a trident; and that the goddess was Amphitrite. A masterpiece of Praxiteles was the Venus of Cnidos, based upon which are the Venus of the Capitoline in Rome and the Venus de' Medici in Florence. Also the Venus of the Vatican, which is, in my opinion, superior to both. The Venus of the Medici was in the possession of the princes of that name in Rome when, about two hundred years ago, it first attracted attention. An inscription on the base assigns it to Cleomenes, an Athenian sculptor of 200 B.C., but the authenticity of the inscription is doubtful. There is a story that the artist was employed by public authority to make a statue exhibiting the perfection of female beauty, and that to aid him in his task the most perfect forms the city could supply were furnished him for models. Note Thomson's allusion in the Summer:

So stands the statue that enchants the world; So bending tries to veil the matchless boast, The mingled beauties of exulting Greece.

And Byron's

There too the goddess loves in stone, and fills The air around with beauty.--Childe Harold, 4, 49-53.

One of the most beautiful of the Greek Aphrodites is the Petworth (opp. p. 126, text).

Of modern paintings the most famous are: the Sleeping Venus and other representations of Venus by Titian; the Birth of Venus by Bouguereau; Tintoretto's Cupid, Venus, and Vulcan; Veronese's Venus with Satyr and Cupid. Modern sculpture: Thorwaldsen's Venus with the Apple; Venus and Cupid; Cellini's Venus; Canova's Venus Victrix, and the Venus in the Pitti Gallery; Rossetti's Venus Verticordia (crayons, water colors, oil).

=36. _Interpretative._= Max Müller traces =Hermes=, child of the Dawn with its fresh breezes, herald of the gods, spy of the night, to the Vedic Saramâ, goddess of the Dawn. Others translate Saramâ, _storm_. Roscher derives from the same root as Sarameyas (son of Saramâ), with the meaning _Hastener_, the _swift wind_. The invention of the syrinx is attributed also to Pan.

=_Illustrative._= To Mercury's construction of the lyre out of a tortoise shell, Gray refers (Progress of Poesy), "Parent of sweet and solemn-breathing airs, Enchanting shell!" etc. See Shakespeare, King John, IV, ii; Henry IV, IV, i; Richard III, II, i; IV, iii; Hamlet, III, iv; Milton, Paradise Lost, 3, "Though by their powerful art they bind Volatile Hermes"; 4, 717; 11, 133; Il Penseroso, 88; Comus, 637, 962. =_Poems_=: Sir T. Martin, Goethe's Ph[oe]bus and Hermes; Shelley's translation of Homer's Hymn to Mercury.

=_In Art._= The Mercury in the Central Museum, Athens; Mercury Belvedere (Vatican); Mercury in Repose (National Museum, Naples). The Hermes by Praxiteles, in Olympia (text, opp. p. 150), and the Hermes Psychopompos leading to the underworld the spirit of a woman who has just died (text, Fig. 20; from a relief sculptured on the tomb of Myrrhina), are especially fine specimens of ancient sculpture.

In modern sculpture: Cellini's Mercury (base of Perseus, Loggia del Lanzi, Florence); Giov. di Bologna's Flying Mercury (bronze, Bargello, Florence: text, opp. p. 330); Thorwaldsen's Mercury. In modern painting: Tintoretto's Mercury and the Graces; Francesco Albani's Mercury and Apollo; Claude Lorrain's Mercury and Battus; Turner's Mercury and Argus; Raphael's allegorical Mercury (Wednesday), Vatican, Rome; and his Mercury with Psyche (Farnese Frescoes).

=37. _Interpretative._= The name =Hestia= (Latin _Vesta_) has been variously derived from roots meaning _to sit_, _to stand_, _to burn_. The two former are consistent with the domestic nature of the goddess; the latter with her relation to the hearth-fire. She is "first of the goddesses," the holy, the chaste, the sacred.

=_Illustrative._= Milton, Il Penseroso (Melancholy), "_Thee_ bright-haired Vesta long of yore To solitary Saturn bore," etc.

=38.= (1) =Cupid= (Eros). References and allusions to Cupid throng our poetry. Only a few are here given. Shakespeare, Romeo and Juliet, I, iv; Merchant of Venice, II, vi; Merry Wives, II, ii; Much Ado About Nothing, I, i; II, i; III, ii; Midsummer Night's Dream, I, i; II, ii; IV, i; Cymbeline, II, iv; Milton, Comus, 445, 1004; Herrick, The Cheat of Cupid; Pope, Rape of the Lock, 5, 102; Dunciad, 4, 308; Moral Essays, 4, 111; Windsor Forest,--on Lord Surrey, "In the same shades the Cupids tuned his lyre To the same notes of love and soft desire."

=_Poems._= Chaucer, The Cuckow and Nightingale, or Boke of Cupid (?); Occleve, The Letter of Cupid; Beaumont and Fletcher, Cupid's Revenge, and the Masque, A Wife for a Month; J.G. Saxe, Death and Cupid, on their exchange of arrows, "And that explains the reason why Despite the gods above, The young are often doomed to die, The old to fall in love"; Thomas Ashe, The Lost Eros; Coventry Patmore, The Unknown Eros. Also John Lyly's Campaspe:

Cupid and my Campaspe playd, At cardes for kisses, Cupid payd; He stakes his quiver, bow, and arrows, His mother's doves, and teeme of sparows; Looses them too; then, downe he throwes The corrall of his lippe, the rose Growing on's cheek (but none knows how), With these, the cristall of his brow, And then the dimple of his chinne: All these did my Campaspe winne. At last hee set her both his eyes; Shee won, and Cupid blind did rise. O love! has shee done this to thee? What shall (alas!) become of mee?

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

=_In Art._= Antique sculpture: the Eros in Naples, ancient marble from an original perhaps by Praxiteles (text, Fig. 21); Eros bending the Bow, in the Museum at Berlin; Cupid bending his Bow (Vatican); Eros with his Bow, in the Capitoline (text, opp. p. 136).

Modern sculpture: Thorwaldsen's Mars and Cupid. Modern paintings: Bouguereau's Cupid and a Butterfly; Raphael's Cupids (among drawings in the Museum at Venice); Burne-Jones' Cupid (in series with Pyramus and Thisbe); Raphael Mengs' Cupid sharpening his Arrow; Guido Reni's Cupid; Van Dyck's Sleeping Cupid. See also under _Psyche_, =C. 101=.

=Hymen.= See Sir Theodore Martin's translations of the _Collis O Heliconii_, and the _Vesper adest, juvenes_, of Catullus (LXI and LXII); Milton, Paradise Lost, 11, 591; L'Allegro, 125; Pope, Chorus of Youths and Virgins.

(2) =Hebe.= Thomas Lodge's Sonnet to Phyllis, "Fair art thou, Phyllis, ay, so fair, sweet maid"; Milton, Vacation Exercise, 38; Comus, 290; L'Allegro, 29; Spenser, Epithalamion. =_Poems_=: T. Moore, The Fall of Hebe; J. R. Lowell, Hebe. =_In Art_=: Ary Scheffer's painting of Hebe; N. Schiavoni's painting.

=Ganymede.= Chaucer, Hous of Fame, 81; Tennyson, in the Palace of Art, "Or else flushed Ganymede, his rosy thigh Half-buried in the Eagle's down," etc.; Shelley in the Prometheus (Jove's order to Ganymede); Milton, Paradise Regained, 2,353; Drayton, Song 4, "The birds of Ganymed." =_Poems_=: Lord Lytton, Ganymede; Bowring, Goethe's Ganymede; Roden Noël, Ganymede; Edith M. Thomas, Homesickness of Ganymede; S. Margaret Fuller, Ganymede to his Eagle; Drummond on Ganymede's lament, "When eagle's talons bare him through the air." =_In Art_=: The Rape of Ganymede, marble in the Vatican, probably from the original in bronze by Leochares (text, Fig. 22). Græco-Roman sculpture: Ganymede and the Eagle (National Museum, Naples). Modern sculpture: Thorwaldsen's Ganymede.

(3) =The Graces.= Rogers, Inscription for a Temple; Matthew Arnold, Euphrosyne. These goddesses are continually referred to in poetry. Note the painting by J. B. Regnault (Louvre), also the sculpture by Canova.

(4) =The Muses.= Spenser, The Tears of the Muses; Milton, Il Penseroso; Byron, Childe Harold, 1, 1, 62, 88; Thomson, Castle of Indolence, 2, 2; 2, 8; Akenside, Pleasures of Imagination, 3. 280, 327; Ode on Lyric Poetry; Crabbe, The Village, Bk. 1; Introductions to the Parish Register, Newspaper, Birth of Flattery; M. Arnold, Urania. =Delphi=, =Parnassus=, etc.: Gray, Progress of Poesy, 2, 3. =Vale of= =Tempe=: Keats, On a Grecian Urn; Young, Ocean, an ode. =_In Art._= Sculpture: Polyhymnia, ancient marble in Berlin (text, Fig. 23); Clio and Calliope, in the Vatican in Rome; Euterpe, Melpomene, Polyhymnia, and Urania, in the Louvre, Paris; Terpsichore by Thorwaldsen. Painting: Apollo and the Muses, by Raphael Mengs and by Giulio Romano; Terpsichore (picture), by Schützenberger.

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

(6) =The Fates.= Refrain stanzas in Lowell's Villa Franca, "Spin, spin, Clotho, spin! Lachesis, twist! and Atropos, sever!" =_In Art_=: The Fates, painting attributed to Michelangelo, but now by some to Rosso Fiorentino from Michelangelo's design (text, Fig. 24, Pitti Gallery, Florence); painting by Paul Thumann.

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

(8) =Æsculapius.= Spenser, Faerie Queene, 1, 5, 36-43; Milton, Paradise Lost, 9, 507.

(9) (10) =The Winds=, =Helios=, =Aurora=, =Hesper=, etc. =Æolus=: Chaucer, Hous of Fame, 480. See =C. 125= and genealogical tables H and I. =Hippotades= is Æolus (son of Hippotes). In Lycidas, 96, Milton calls the king of the winds Hippotades, because, following Homer (Odyssey, 10, 2) and Ovid (Metam. 14, 224), he identifies Æolus II with Æolus III. =Boreas and Orithyia=: Akenside, Pleasures of Imagination, 1, 722.

=_In Art._= The fragment, Helios rising from the Sea, by Phidias, south end, east pediment of the Parthenon. Boreas and Zetos, Greek reliefs (text, Figs. 25 and 26); Boreas and Orithyia (text, Fig. 27), on a vase in Munich.

(11) =Hesperus.= Milton, Paradise Lost, 4, 605; 9, 49; Comus, 982; Akenside, Ode to Hesper; Campbell, Two Songs to the Evening Star, Tennyson, The Hesperides.

(12) "=Iris= there with humid bow waters the odorous banks," etc., Comus, 992. See also Milton's Paradise Lost, 4, 698; 11, 244. =_In Art_=: Fig. 28, text; and painting by Guy Head (Gallery, St. Luke's, Rome). She is the swift-footed, wind-footed, fleet, the Iris of the golden wings, etc.

=39. Hyperborean.= _Beyond the North_. Concerning the Elysian Plain, see =46.= =_Illustrative_=: Milton, Comus, "Now the gilded car of day," etc.

=40. Ceres. _Illustrative._= Pope, Moral Essays, 4, 176, "Another age shall see the golden ear Imbrown the slope ... And laughing Ceres reassume the land"; Spring, 66; Summer, 66; Windsor Forest, 39; Gray, Progress of Poesy; Warton, First of April, "Fancy ... Sees Ceres grasp her crown of corn, And Plenty load her ample horn"; Spenser, Faerie Queene, 3, 1, 51; Milton, Paradise Lost, 4, 268; 9, 395.

=_Poems_.= Tennyson, Demeter and Persephone; Mrs. H. H. Jackson, Demeter. =_Prose_=: W. H. Pater, The Myth of Demeter (_Fortn. Rev._ Vol. 25, 1876); S. Colvin, A Greek Hymn (_Cornh. Mag._ Vol. 33, 1876); Swinburne, At Eleusis.

The name _Ceres_ is from the stem _cer_, Sanskrit _kri_, 'to make.' By metonomy the word comes to signify _corn_ in the Latin. Demeter (#Gê mêtêr#, #da matêr#) means _Mother Earth_. The goddess is represented in art crowned with a wheat-measure (or _modius_), and bearing a horn of plenty filled with ears of corn. Demeter (?) appears in the group of deities on the eastern frieze of the Parthenon. Also noteworthy are the Demeter from Knidos (text, Fig. 29, from the marble in the British Museum); two statues of Ceres in the Vatican at Rome, and one in the Glyptothek at Munich; and the Roman wall painting (text, Fig. 30).

=41. Rhea= was worshiped as =Cybele=, the Great Mother, in Phrygia and at Pessinus in Galatia. During the Second Punic War, 203 _B.C._, her image was brought from the latter place to Rome. In 191 B.C. the Megalesian Games were first celebrated in her honor, occupying six days, from the fourth of April on. Plays were acted during this festival. The Great Mother was also called Cybebe, Berecyntia, and Dindymene.

=The Cybele of Art.= In works of art, Cybele exhibits the matronly air which distinguishes Juno and Ceres. Sometimes she is veiled, and seated on a throne with lions at her side; at other times she rides in a chariot drawn by lions. She wears a mural crown, that is, a crown whose rim is carved in the form of towers and battlements. Rhea is mentioned by Homer (Iliad, 15, 187) as the consort of Cronus.

=_Illustrative._= Byron's figure likening Venice to Cybele, Childe Harold, 4, 2, "She looks a sea-Cybele, fresh from ocean," etc. Also Milton's Arcades, 21.

=42. _Interpretative._= It is interesting to note that Homer (Iliad and Odyssey) recognizes Dionysus neither as inventor, nor as exclusive god of wine. In Iliad, 6, 130 he refers, however, to the Dionysus cult in Thrace. Hesiod is the first to call wine the gift of Dionysus. =Dionysus= means the Zeus or _god_ of Nysa, an imaginary vale of Thrace, B[oe]otia, or elsewhere, in which the deity spent his youth. The name =Bacchus= owes its origin to the _enthusiasm_ with which the followers of the god lifted up their voices in his praise. Similar names are Iacchus, Bromius, Evius (from the cry _evoe_). The god was also called Lyæus, the _loosener_ of care, Liber, the _liberator_. His followers are also known as Edonides (from Mount Edon, in Thrace, where he was worshiped), Thyiades, the _sacrificers_, Lenæa and Bassarides. His festivals were the Lesser and Greater Dionysia (at Athens), the Lenæa, and the Anthesteria, in December, March, January, and February, respectively. At the first, three dramatic performances were presented.

_=Illustrative.=_ A few references and allusions worth consulting: Spenser, Epithalamion; Fletcher, Valentinian, "God Lyæus, ever young"; Randolph, To Master Anthony Stafford (1632); Milton, L'Allegro, 16; Paradise Lost, 4, 279; 7, 33; Comus, 46, 522; Shakespeare, Midsummer Night's Dream, V, i; Love's Labour's Lost, IV, iii; Antony and Cleopatra, II, vii, song; Shelley, Ode to Liberty, 7, Rome--"like a Cadmæan Mænad"; Keats, To a Nightingale, "Not charioted by Bacchus and his pards." On =Semele=, Milton, Paradise Regained, 2, 187; Spenser, Faerie Queene, 3, 11, 33.

_=Poems.=_ Ben Jonson, Dedication of the King's New Cellar; Thomas Parnell, Bacchus, or the Drunken Metamorphosis; Landor, Sophron's Hymn to Bacchus; Swinburne, Prelude to Songs before Sunrise; Roden Noël, The Triumph of Bacchus; Robert Bridges, The Feast of Bacchus; others given in text. See Index.

_=In Art.=_ Of ancient representations of the Bacchus, the best examples are the marble in the British Museum (text, Fig. 31); the Silenus holding the child Bacchus (in the Louvre); the head of Dionysus found in Smyrna (now in Leyden--see text, Fig. 143), from an original of the school of Scopas; the head (now in London) from the Baths of Caracalla, of the later Attic school; the Faun and Bacchus (Museum, Naples); a standing bronze figure in Vienna, and the statue of the Villa Tiburtina (Rome). The bearded or Indian Bacchus is represented as advanced in years, grave, dignified, crowned with a diadem and robed to the feet. See also Figs. 82-87, in text.

In modern sculpture note especially the Drunken Bacchus of Michelangelo. Among modern paintings worthy of notice are Bouguereau's Youth of Bacchus, and C. Gleyre's Dance of the Bacchantes. See also under _Ariadne_.

=43.= The invention of the syrinx is attributed also to Mercury. For poetical illustrations of Pan see =C. 129-138=. So also for Nymphs and Satyrs.

_=In Art.=_ Pan the Hunter (text, Fig. 32); the antique, Pan and Daphnis (with the syrinx) in the Museum at Naples. See references above.

=44-46.= It was only in rare instances that mortals returned from Hades. See the stories of Hercules, Orpheus, Ulysses, Æneas. On the tortures of the condemned and the happiness of the blessed, see =254-257= in The Adventures of Æneas.

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

Whatever of true life there was in thee Leaps in our age's veins; ... Here, 'mid the bleak waves of our strife and care Float the green Fortunate Isles Where all thy hero-spirits dwell, and share Our martyrdom and toils; The present moves attended With all of brave and excellent and fair That made the old time splendid.

Milton, Paradise Lost, 3, 568, "Like those Hesperian gardens," etc. See also the same, 2, 577 ff.,--"Abhorrèd =Styx=, the flood of deadly hate,"--where the rivers of Erebus are characterized according to the meaning of their Greek names; and L'Allegro, 3. =Charon=: Pope, Dunciad, 3, 19; R. C. Rogers, Charon. =Elysium=: Cowper, Progress of Error, Night, "The balm of care, Elysium of the mind"; Milton, Paradise Lost, 3, 472; Comus, 257; L'Allegro; Shakespeare, 3 Henry VI, I, ii; Cymbeline, V, iv; Twelfth Night, I, ii; Two Gentlemen of Verona, II, vii; Shelley, To Naples. =Lethe=: Shakespeare, Twelfth Night, IV, i; Julius Cæsar, III, i; Hamlet, I, v; 2 Henry IV, V, ii; Milton, Paradise Lost, 2, 583. =Tartarus=: Milton, Paradise Lost, 2, 858; 6, 54.

=47. _Interpretative._= The name =Hades= means "the invisible," or "he who makes invisible." The meaning of Pluto (_Plouton_), according to Plato (Cratylus), is _wealth_,--the giver of treasure which lies underground. Pluto carries the cornucopia, symbol of inexhaustible riches; but careful discrimination must be observed between him and Plutus (_Ploutos_), who is merely an allegorical figure,--a personification of wealth and nothing more. =Hades= is called also the Illustrious, the Many-named, the Benignant, _Polydectes_ or the Hospitable.

_=Illustrative.=_ Milton, L'Allegro, and Il Penseroso; Paradise Lost, 4, 270; Thomas Kyd, Spanish Tragedy (Andrea's descent to Hades;--this poem deals extensively with the Infernal Regions); Shakespeare, 2 Henry IV, II, iv; Troilus and Cressida, IV, iv; V, ii; Coriolanus, I, iv; Titus Andronicus, IV, iii.

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

=48. Proserpina.= Not from the Latin _pro-serpo_, 'to creep forth' (used of herbs in spring), but from the Greek form Persephone, _bringer of death_. The later name =Pherephatta= refers to the doves (_phatta_), which were sacred to her as well as to Aphrodite. She carries ears of corn as symbol of vegetation, poppies as symbol of the sleep of death, the pomegranate as the fruit of the underworld of which none might partake and return to the light of heaven. Among the Romans her worship was overshadowed by that of =Libitina=, a native deity of the underworld.

_=Illustrative.=_ Keats, Melancholy, 1; Spenser, Faerie Queene, 1, 2, 2; Milton, Paradise Lost, 4, 269; 9, 396.

_=Poems.=_ Aubrey De Vere, The Search after Proserpine; Jean Ingelow, Persephone; Swinburne, Hymns to Proserpine; L. Morris, Persephone (Epic of Hades); D. G. Rossetti, Proserpina. (Also in crayons, in water colors, and in oil.)

_=In Art.=_ Sculpture: Eastern pediment of Parthenon frieze. Painting: Lorenzo Bernini's Pluto and Proserpine; P. Schobelt's Abduction of Proserpine.

=49. _Textual._= (1) For Æacus, son of Ægina, see =61= and =C. 190=, Table O; for Minos and Rhadamanthus, see =59. Eumenides=: euphemistic term, meaning the _well-intentioned_. =Hecate= was descended through her father Perses from the Titans, Creüs and Eurybië; through her mother Asteria from the Titans, C[oe]us and Ph[oe]be. She was therefore, on both sides, the granddaughter of Uranus and Gæa.

The following table is based upon Hesiod's account of =The Family of Night=. (Theogony.)

According to other theogonies, the Fates were daughters of Jove and Themis, and the Hesperides daughters of Atlas. The story of the true and false =Dreams= and the horn and ivory gates (Odyssey, 19, 560) rests on a double play upon words: (1) #elephas# (_elephas_), 'ivory,' and #elephairomai# (_elephairomai_), 'to cheat with false hope'; (2) #keras# (_keras_), horn, and #krainein# (_krainein_), 'to fulfill.' See Mortimer Collins, The Ivory Gate, a poem.

=_Illustrative._ Hades=: Milton, Paradise Lost, 2, 964; L. Morris, Epic of Hades. =Styx=: Shakespeare, Troilus and Cressida, V, iv; Titus Andronicus, I, ii; Milton, Paradise Lost, 2, 577; Pope, Dunciad, 2, 338. =Erebus=: Shakespeare, Merchant of Venice, V, i; 2 Henry IV, II, iv; Julius Cæsar, II, i. =Cerberus=: Spenser, Faerie Queene, 1, 11, 41; Shakespeare, Love's Labour's Lost, V, ii; 2 Henry IV, II, iv; Troilus and Cressida, II, i; Titus Andronicus, II, v; Maxwell, Tom May's Death; Milton, L'Allegro, 2. =Furies=: Milton, Lycidas; Paradise Lost, 2, 597, 671; 6, 859; 10, 620; Paradise Regained, 9, 422; Comus, 641; Dryden, Alexander's Feast, 6; Shakespeare, Midsummer Night's Dream, V, i; Richard III, I, iv; 2 Henry IV, V, iii. =Hecate=: Shakespeare, Macbeth, IV, i. =Sleep and Death=: Shelley, To Night; H. K. White, Thanatos.

=_In Art._= Vase-painting of Canusium of the Underworld (text, Fig. 34); painting of a =Fury= by Michelangelo (Uffizi, Florence); also Figs. 35-39 in text.

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

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

=_Illustrative._ Oceanus=: Milton, Comus, 868. =Neptune=: Spenser, Faerie Queene, 1, 11, 54; Shakespeare, Tempest, I, ii; Midsummer Night's Dream, II, ii; Macbeth, II, ii; Cymbeline, III, i; Hamlet, I, i; Milton, Lycidas; Paradise Regained, 1, 190; Paradise Lost, 9, 18; Comus, 869; Prior, Ode on Taking of Namur; Waller's Panegyric to the Lord Protector. =Panope=: Milton, Lycidas, 99.

=Harpies.= Milton, Paradise Lost, 3, 403. =Sirens=: Wm. Morris, Life and Death of Jason--Song of the Sirens. =Scylla= and Charybdis (see Index): Milton, Paradise Lost, 2, 660; Arcades, 63; Comus, 257; Pope, Rape of the Lock, 3, 122. =Sirens=: Rossetti, A Sea-Spell; A. Lang, "They hear the Sirens for the second time."

TABLE B. THE FAMILY OF NIGHT

=Night= +-- Goddesses of Destiny and Fate (_Clotho, Lachesis, Atropos_) +-- Death (_Thanatos_) +-- Sleep | +-- Morpheus | +-- Icelus | +-- Phantasus +-- Dreams +-- Momus (god of ridicule--adverse criticism) +-- Care +-- Hesperides +-- Nemesis

=Naiads.= Landor, To Joseph Ablett; Shelley, To Liberty, 8; Spenser, Prothalamion, 19; Milton, Lycidas; Paradise Regained, 2, 355; Comus, 254; Buchanan, Naiad (see =134=); Drummond of Hawthornden, "Nymphs, sister nymphs, which haunt this crystal brook, And happy in these floating bowers abide," etc.; Pope, Summer, 7; Armstrong, Art of Preserving Health, "Come, ye Naiads! to the fountains lead."

TABLE C. DIVINITIES OF THE SEA

Gæa =Uranus +-- =Oceanus= | ==Tethys= | +-- Inachus and other river-gods | +-- Oceanids | +-- Doris (the Oceanid) | =Nereus | +-- =Amphitrite= | | ==Neptune= | | +-- Proteus (_acc. to Apollodorus_) | | +-- Triton | +-- =Galatea= | +-- Thetis | =Peleus | +-- Achilles +-- Cronus | =Rhea | +-- =Neptune= | ==Amphitrite= | +-- Proteus (_acc. to Apollodorus_) (see above) | +-- Triton (see above) +-- Rhea =Cronus +-- =Neptune= (see above)

Gæa =Pontus +-- Nereus | =Doris (the Oceanid) | +-- Amphitrite (see above) | +-- Galatea (see above) | +-- Thetis (see above) +-- Thaumas | +-- Iris | +-- Harpies +-- Phorcys | =Ceto | +-- Grææ | +-- Gorgons | +-- Sirens | +-- Scylla +-- Ceto =Phorcys +-- Grææ (see above) +-- Gorgons (see above) +-- Sirens (see above) +-- Scylla (see above)

=Proteus.= Shakespeare, Two Gentlemen of Verona, I, i; II, ii; III, ii; IV, iv; Pope, Dunciad, 1, 37; 2, 109. The Water Deities are presented in a masque contained in Beaumont and Fletcher's Maid's Tragedy.

=_In Art._= Poseidon: see text, Figs. 40 and 41 (originals in the British Museum and the Glyptothek, Munich); also the Isthmian Poseidon, Fig. 95. The Atlas (Græco-Roman sculpture) in National Museum, Naples; the Triton in Vatican (text, Fig. 42). Modern painting: J. Van Beers, The Siren; D. G. Rossetti, The Siren.

=_Textual._ Consus=, from _condere_, 'to stow away.' The sisters of =Carmenta=, the forward-looking Antevorta and the backward-looking Postvorta, were originally but different aspects of the function of the Muse.

=54. _Illustrative._ Saturn=: Milton, Il Penseroso; Keats, Hyperion; Peele, Arraignment of Paris. =Janus=, as god of civilization: Dryden, Epistle to Congreve, 7. =Fauns=: Milton, Lycidas; R. C. Rogers, The Dancing Faun. See Hawthorne's Marble Faun. =Bellona=: Shakespeare, Macbeth, "Bellona's bridegroom, lapp'd in proof"; Milton, Paradise Lost, 2, 922. =Pomona=: Randolph, To Master Anthony Stafford; Milton, Paradise Lost, 9, 393; 5, 378; Thomson, Seasons, Summer, 663. =Flora=: Milton, Paradise Lost, 5, 16; Spenser, Faerie Queene, 1, 4, 17; R. H. Stoddard, Arcadian Hymn to Flora; Pope, Windsor Forest, 38. =Janus=: Jonathan Swift, To Janus, on New Year's Day, 1726; =Egeria=, one of the Camenæ; Childe Harold, 4, 115-120; Tennyson, Palace of Art, "Holding one hand against his ear," etc. =Pan=, etc.: Milton, Paradise Lost, 4, 707; 4, 329.

=_In Sculpture._= The Satyr, or so-called Faun, of Praxiteles in the Vatican (text, Fig. 106); Dancing Faun (Lateran, Rome); Dancing Faun, Drunken Faun, Sleeping Faun, and Faun and Bacchus (National Museum, Naples); The Barberini Faun, or Sleeping Satyr (Glyptothek, Munich).

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

=55.= The first love of Zeus was =Metis=, daughter of Oceanus and Tethys. She is Prudence or Foreknowledge. She warned Zeus that if she bore him a child, it would be greater than he. Whereupon Zeus swallowed her; and, in time, from his head sprang Athene, "the virgin of the azure eyes, Equal in strength, and as her father wise" (Hesiod, Theog.). On =Latona=, see =32=, =73=, and Commentary.

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

=57.= In the following general table of the =Race of Inachus= (see p. 488), marriages are indicated in the usual manner (by the sign =, or by parentheses); the more important characters mentioned in this work are printed in heavy-faced type. While numerous less important branches, families, and mythical individuals have been intentionally omitted, it is hoped that this reduction of various relationships, elsewhere explained or tabulated, to a general scheme, may furnish the reader with a clearer conception of the family ties that motivate many of the incidents of mythical adventure, and that must have been commonplaces of information to those who invented and perpetuated these stories. It should be borne in mind that the traditions concerning relationships are by no means consistent, and that consequently the collation of mythical genealogies demands the continual exercise of discretion, and a balancing of probabilities. Notice that from the union of Jupiter and Io (Table D), Hercules is descended in the thirteenth generation.

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

_=Interpretative.=_ =Io= is explained as the horned moon, in its various changes and wanderings. =Argus= is the heaven with its myriad stars, some of them shut, some blinking, some always agleam. The wand of Hermes and his music may be the morning breeze, at the coming of which the eyes of heaven close (Cox, 2, 138; Preller 2, 40). The explanation would, however, be just as probable if Mercury (Hermes) were a cloud-driving wind. =Pan and the Syrinx=: naturally the wind playing through the reeds, if (with Müller and Cox) we take Pan to be the all-purifying, but yet gentle, wind. But see p. 181.

_=Illustrative.=_ Shelley, To the Moon, "Art thou pale for weariness Of climbing heaven and gazing on the earth, Wandering companionless Among the stars that have a different birth?" Milton's "To behold the wandering moon, Riding near her highest noon, Like one that had been led astray, Through the heaven's wide pathless way" (Il Penseroso). See also for Io, Shelley's Prometheus Bound. =Argus=: Milton, Paradise Lost, 11, 131; Pope, Dunciad, 2, 374; 4, 637.

=_In Art._= Fig. 47 in the text, from a wall-painting of Herculaneum (Museum, Naples). Correggio's painting, Jupiter and Io; not a pleasant conception.

=58. _Interpretative._= The myth of =Callisto= and =Arcas= is of Arcadian origin. If the Arcadians, in very remote times, traced their descent from a she-bear, and if they also, like other races, recognized a bear in a certain constellation, they might naturally mix the fables and combine them later with the legend of the all-powerful Zeus (Lang, 2, 181). According to another account, Callisto was punished for her love of Jupiter by Diana (Artemis). Her name has been identified with the adjective _Calliste_, 'most fair,' which was certainly applied to Artemis herself. That Artemis was protectress of she-bears is known; also that, in Attica, she was served by girls who imitated, while dancing, the gait of bears. It is quite possible, therefore, that Artemis inherited a more ancient worship of the bear that may have been the _totem_, or sacred animal, from which the Arcadians traced a mythological descent. Others hold that the word _arksha_, 'a star,' became confused with the Greek _arktos_, 'a bear.' So the myth of the son Arcas (the star and the bear) may have arisen (Max Müller). The last star in the tail of the Little Bear is the Polestar, or =Cynosure= (dog's tail).

TABLE D. THE RACE OF INACHUS AND ITS BRANCHES

=Oceanus= +-- =Inachus= +-- Phoroneus | +-- Apis | +-- Niobe | ==Jupiter= | +-- Argus | | +-- (Tiryns, Epidaurus, and other founders of | | Peloponnesian cities) | +-- Pelasgus | +-- Lycaon | +-- Sons destroyed for impiety | +-- =Callisto= | ==Jupiter= | +-- =Arcas= (ancestor of The Arcadians) | +-- Elatus | +-- Pereus | +-- Neæra | +-- Lycurgus | +-- =Ancæus= (Calyd. Hunt) | +-- Amphidamas | | | (an Argonaut) | | +-- Antimache | | ==Eurystheus= | +-- Jasus | +-- =Atalanta= of | Arcadia (Calyd. Hunt) +-- =Argus= Panoptes (slain by Mercury) +-- Phegeus | +-- Arsinoë | =Alcmæon +-- =Io= ==Jupiter= +-- Epaphus +-- Libya =Neptune +-- Agenor | +-- =Cadmus= | | =Harmonia | | +-- =Semele= | | | ==Jupiter= | | | +-- =Bacchus= | | +-- =Ino= | | | =Athamas | | | +-- =Melicertes= | | +-- =Autonoë= | | | =Aristæus | | | +-- =Actæon= | | +-- =Agave= | | | =Echion | | | +-- =Pentheus= | | | +-- Men[oe]ceus | | | +-- =Creon= | | | | +-- Men[oe]ceus II | | | | +-- Hæmon | | | +-- =Jocasta= | | | ==Laïus= | | | +-- =[OE]dipus= | | | +-- =Eteocles= | | | +-- =Polynices= | | | | +-- Thersander | | | +-- =Antigone= | | | +-- =Ismene= | | +-- Polydorus | | +-- Labdacus | | +-- =Laïus= | | ==Jocasta= | | +-- =[OE]dipus= (see above) | +-- Ph[oe]nix | +-- Cilix | +-- Phineus (the Soothsayer) | +-- =Europa= | ==Jupiter= | +-- =Minos I= | | +-- Lycastus | | +-- =Minos II= | | =Pasiphaë | | +-- Crateus | | | +-- Aërope | | | =Atreus | | | +-- =Agamemnon= | | | | =Clytemnestra | | | +-- =Menelaüs= | | | =Helen | | +-- =Phædra= | | | =Theseus | | +-- =Ariadne= | | =Theseus | +-- =Rhadamanthus= | +-- =Sarpedon= +-- Belus +-- Ægyptus | +-- 49 sons | +-- =Lynceus= | ==Hypermnestra= | +-- Abas | +-- Acrisius | | +-- =Danaë= | | ==Jupiter= | | +-- =Perseus= | | ==Andromeda= | | +-- Perses | | +-- Electryon | | | +-- Alcmene | | | ==Jupiter= | | | +-- =Hercules= | | | =Amphitryon | | | +-- =Iphicles= | | +-- Alcæus | | | +-- Amphitryon | | | =Alcmene | | | +-- =Iphicles= | | | (see above) | | +-- Sthenelus | +-- Pr[oe]tus | +-- Megapenthes +-- Danaüs | +-- =Hypermnestra= | ==Lynceus= | +-- Abas (see above) +-- Cepheus =Cassiopea +-- =Andromeda= ==Perseus= +-- Perses (see above) +-- Electryon (see above) +-- Alcæus (see above) +-- Sthenelus (see above)

_=Illustrative.=_ Milton's "Let my lamp, at midnight hour, Be seen in some high lonely tower, Where I may oft _outwatch the Bear_" (Il Penseroso); and his "Where perhaps some beauty lies The cynosure of neighbouring eyes" (L'Allegro); also his "And thou shalt be our star of Arcady, Or Tyrian Cynosure" (Comus). Note Lowell's "The Bear, that prowled all night about the fold Of the North-star, hath shrunk into his den" (Prometheus). See also the song beginning, "Hear ye, ladies, that despise What the mighty Love had done," in Beaumont and Fletcher's drama, Valentinian,--for Callisto, Leda, and Danaë.

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

TABLE E

Mars =Venus +-- Harmonia ==Cadmus= +-- =Semele= | =Jupiter | +-- Bacchus +-- Ino | =Athamas | +-- Melicertes +-- Autonoë | =Aristæus | +-- Actæon +-- Agave | +-- Pentheus +-- Polydorus +-- Labdacus +-- Laïus +-- [OE]dipus (royal family of Thebes)

=Agenor= +-- =Cadmus= | =Harmonia | +-- =Semele= (see above) | +-- Ino (see above) | +-- Autonoë (see above) | +-- Agave (see above) | +-- Polydorus (see above) +-- =Europa= | =Jupiter | +-- Minos | +-- Rhadamanthus | +-- Sarpedon +-- Ph[oe]nix +-- Cilix

=_Textual._ Moschus= lived about the close of the third century B.C. in Syracuse. He was a grammarian and an idyllic poet. He calls himself a pupil of Bion,--whose Lament for Adonis is given in =100=. Both Bion and Moschus belong to the School of Theocritus--the Idyllic or Pastoral School of Poetry. =Cypris=: Venus, by whom the island of Cyprus was beloved. =Mygdonian flutes=: the ancients had three species or modes of music, depending, respectively, upon the succession of musical intervals which was adopted as the basis of the system. The Lydian measures were shrill and lively; the Dorian deep in tone, grave, and solemn; the Mygdonian, or Phrygian, were supposed by some to have been the same as the Lydian, but more probably they were a combination of Lydian and Dorian. =Shaker of the World=: Neptune. =Crete=: where Jupiter had been concealed from his father Cronus, and nourished by the goat Amalthea.

=_Interpretative._= Herodotus says that =Europa= was a historical princess of Tyre, carried off by Hellenes to Crete. =Taurus= (the bull) was euhemeristically conceived to be a king of Crete who carried off the Tyrian princess as prize of war. Others said that probably the figurehead of the ship in which Europa was conveyed to Crete was a _bull_. It is not improbable that the story indicates a settlement of Ph[oe]nicians in Crete and the introduction by them of cattle. Modern critics, such as Preller and Welcker, make Europa a goddess of the moon = Diana or Astarte, and translate her name "the dark, or obscured one." But she has undoubtedly a connection with the earth, perhaps as wife of Jupiter (the Heaven). H. D. Müller connects both Io and Europa with the wandering Demeter (or Ceres), and considers Demeter to be a goddess both of the moon and of the earth (Helbig, in Roscher). Cox, after his usual method, finds here the Dawn borne across the heaven by the lord of the pure ether. Europa would then be the broad-spreading flush of dawn, seen first in the purple region of morning (Ph[oe]nicia). Her brother Cadmus, who pursues her, would be the sun searching for his lost sister or bride. Very fanciful, but inconclusive. =The bull= occurs not infrequently in myth as an incarnation of deity.

=_Illustrative._= W. S. Landor, Europa and her Mother; Aubrey De Vere, The Rape of Europa; E. Dowden, Europa; W. W. Story, Europa (a sonnet). See also a graceful picture in Tennyson's Palace of Art.

=_In Art._= Fig. 48, in text, from vase found at Cumæ; the marble group in the Vatican, Europa riding the Bull; painting by Paolo Veronese, The Rape of Europa; Europa, by Claude Lorrain.

=60.= See Tables D and E.

=_Interpretative._= According to Preller, =Semele= is a personification of the fertile soil in spring, which brings forth the productive vine. In the irrational part of the myth, Jove takes the child Dionysus (Bacchus), after Semele's death, and sews him up in his thigh for safe-keeping. Preller finds here "the wedlock of heaven and earth, the first day that it thunders in March." Exactly why, might be easy to guess, but hard to demonstrate. The thigh of Jupiter would have to be the cool moist clouds brooding over the youthful vine. The whole explanation is altogether too conjectural. See A. Lang's Myth, Ritual, etc., 2, 221-225, for a more plausible but less poetic theory.

=_Illustrative._= Milton, Paradise Regained, 2, 187; Bowring's translation of Schiller's Semele; E. R. Sill, Semele, of which a part is given in the text.

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

=61. _Textual._= The son of Ægina and Jove was Æacus (for genealogy, see Table O (1)). =Ægina=: an island in the Saronic Gulf, between Attica and Argolis. =Asopus=: the name of two rivers, one in Achaia, one in B[oe]otia, of which the latter is the more important. The Greek traveler, Pausanias, tells us that Asopus was the discoverer of the river which bears his name. =Sisyphus=, see =255=. This description of the plague is copied by Ovid from the account which Thucydides gives of the plague of Athens. That account, much fuller than is here given, was drawn from life and has been the source from which many subsequent poets and novelists have drawn details of similar scenes. The =Myrmidons= were, during the Trojan War, the soldiers of Achilles, grandson of this king Æacus.

=_Interpretative._= The name =Ægina= may imply either the shore on which the waves break (Preller), or the sacred goat (_Ægeus_) which was the _totem_ of the Ægeus family of Attica. The worship of Athene was introduced into Athens by this family. In sacrifices the goddess was clad in the skin of the sacred goat, but no goat might be sacrificed to her. Probably another example of the survival of a savage ritual (Lang, Myth, Ritual, etc., 1, 280).

=_Illustrative._ Myrmidons=:

No, no, said Rhadamant, it were not well, With loving souls to place a martialist; He died in war, and must to martial fields, Where wounded Hector lives in lasting pain, And Achilles' Myrmidons do scour the plain.

Kyd, Spanish Tragedy

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

=62. _Textual._ Mænad=: the Mænades, from #mainomai# (_mainomai_), 'to rage,' were women who danced themselves into a frenzy in the orgies or festivals of Bacchus. =Cithæron=: a mountain range south of Thebes and between B[oe]otia and Attica.

=_Interpretative._ Antiope=, philologically interpreted, may indicate the moon with face turned full upon us. That Antiope is a personification of some such natural phenomena would also appear from the significance of the names associated with hers in the myth: =Nycteus=, the _night-man_; =Lycus=, the _man of light_. Amphion and Zethus are thought, in like fashion, to represent manifestations of light; see also Castor and Pollux. Perhaps the method employed by Zethus and Amphion in building Thebes may merely symbolize the advantage of combining mechanical force with well-ordered or harmonious thought.

=_In Art_=: The Farnese Bull group (text, opp. p. 74): marble, maybe by Tauriscus and Tralles, in Naples Museum. Fig. 51: a relief in the Palazzo Spada, Rome. Modern painting: Correggio's Antiope.

=63. _Textual._ Phrygia=: a province in Asia Minor. For =Minerva's= protection of the olive, see =65=. =Tyana= is a town in Cappadocia, Asia Minor.

=64. _Textual._ Argos=: the capital of Argolis in the Peloponnesus. Of =Cydippe=, it is told, in Ovid's Heroides and elsewhere, that, when a girl sacrificing in the temple of Diana in Delos, she was seen and loved by a youth, Acontius. He threw before her an apple, on which these words were inscribed, "I swear by the sanctuary of Diana to marry Acontius." The maiden read aloud the words and threw the apple away. But the vow was registered by Diana, who, in spite of many delays, brought about the marriage of Cydippe and her unknown lover. =Polyclitus= =the Elder=, of Argos, lived about 431 B.C., and was a contemporary of two other great sculptors, Phidias and Myron. His greatest work was the chryselephantine statue of Hera for her temple between Argos and Mycenæ.

=_Illustrative._= Beside Gosse's Sons of Cydippe, see verses by L. J. Richardson, in _The Inlander_, Ann Arbor, Vol. 2, p. 2. For the story of Acontius and Cydippe, see William Morris' Earthly Paradise; and Lytton's Cydippe, or The Apples, in The Lost Tales of Miletus.

=_In Art._= The severe design in clay by Teignmouth, of which prints may be obtained, was made to illustrate Gosse's poem.

=65-66. _Textual._= For =Cecrops=, see =174=. He named the city that he founded Cecropia,--a name which afterwards clung to Athens. For an excellent description of ancient weaving, see Catullus, LXIV, 304-323 (The Peleus and Thetis). For translation, see =191. Leda=, mother of Castor, Pollux, Helen, and Clytemnestra (see =194= and Commentary). =Danaë=, mother of Perseus (see =151=).

=_Interpretative._= The waves were the coursers of Neptune,--the horses with which he scours the strand. =Arachne=: a princess of Lydia. It is probable that the myth symbolizes the competition in products of the loom between Attica and Asia Minor and the superior handicraft of the Athenian weavers.

=_Illustrative._ Arachne=: Shakespeare, Troilus and Cressida, V, ii; Pope, Dunciad, 4, 590. =_Poem_=: Garrick, Upon a Lady's Embroidery.

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

=68. _Textual._ Diomede=: for his genealogy, see Table K. =Taslets=: armor worn about the thighs. =Cyprian=: Venus. =Pæan= (Pæon, or Paiëon), classed by Homer among the Olympian gods, of whom he is, as his name implies, the "healer." Later, the name was applied to Æsculapius, then to any god who might repair or avert evil of any kind, as, for instance, to Apollo and to Thanatos (Death). See Armstrong's Art of Health, "So Pæan, so the powers of Health command," etc., and "the wise of ancient days Adored one power of physic, melody, and song." =Pæans= were chants in honor of Apollo, sung to deprecate misfortune in battle or to avert disease. =Lower than the sons of Heaven=: lower than the Titans, sons of Uranus (Heaven), who were plunged into Tartarus.

=69. _Textual._= Lessing points out in his Laocoön the skill with which Homer, stating the size of the stone hurled by Minerva and the measure of the space covered by Mars, suggests the gigantic proportions of the warring divinities.

=70. _Textual._= Family of =Cadmus=: see Tables D and E. =Castalian Cave= of Mount Parnassus, Phocis; here was the famous Delphic oracle of Apollo. =Cephissus=: a river running through Doris, Phocis, and B[oe]otia into the Eub[oe]an Gulf; the valley of the Cephissus was noted for its fertility. =Panope=: a town on the Cephissus. =Tyrians=: Cadmus and his followers came from Tyre in Ph[oe]nicia. The =Necklace of Harmonia= was a fateful gift. It brought evil to whomsoever it belonged: to all the descendants of Cadmus; to Eriphyle, wife of Amphiaraüs of Argos, to whom Polynices gave it; and to the sons of Eriphyle. It was finally dedicated to Apollo in Delphi. Harmonia's robe possessed the same fatality, =187, 189. Enchelians=: a people of Illyria. For the myths of =Semele=, see =60=; of =Ino, 144=; of =Autonoë= and her son, =Actæon, 95=; of =Agave= and her son, =Pentheus,= =112=; of =Polydorus=, the =Labdacidæ=, =[OE]dipus=, etc., =182=. =Eight years=: the usual period of penance. Apollo, after slaying the Python, had to clear himself of defilement by a period of purification.

=_Interpretative._ Cadmus and his Tyrians=: according to the usual explanation, this myth is based upon an immigration of Ph[oe]nicians, who settled B[oe]otia and gave laws, the rudiments of culture (alphabet, etc.), and industrial arts to the older races of Greece. Many Theban names, such as Melicertes, Cadmus, point to a possible Ph[oe]nician origin; _cf._ Semitic Melkarth, and Kedem, the _East_. But Preller holds that two mythical personages, a Greek Cadmus and a Ph[oe]nician Cadmus, have been confounded; that the Theban Cadmus is merely the representative of the oldest Theban state; that the selection of the spot on which a heifer had lain down was a frequent practice among settlers, superstitious about the site of their new town; that the dragon typifies the cruel and forbidding nature of the uncultivated surroundings; and that the story of the dragon's teeth was manufactured to flatter the warlike spirit of the Thebans, the teeth themselves being spear points.

=Harmonia=, daughter of the patron deities of Thebes, is the symbol of the peace and domesticity that attend the final establishment of order in the State.

According to the Sun-and-Cloud theory of Cox, Cadmus, the Sun, pursues his sister, Europa, the broad-flushing light of Dawn, who has been carried off on a spotless cloud (the Bull). The Sun, of course, must journey farther west than Crete. The heifer that he is to follow is, therefore, still another cloud (like the cattle of the Sun,--clouds). The dragon of Mars is still a third cloud; and this the Sun dissipates. A storm follows, after which new conflicts arise between the clouds that have sprung up from the moistened earth (the harvest of armed men!). This kind of explanation, indiscriminately indulged, delights the fancy of the inventor and titillates the risibles of the reader.

=_Illustrative._= Milton, Paradise Lost, 9, 506. The serpent that tempted Eve compared with the serpents Cadmus and "Hermione." See Byron, Don Juan, 3, 86, "You have the letters Cadmus gave--Think you he meant them for a slave?"

=_In Art._= Fig. 54, in text: from a vase in the Naples Museum. Fig. 55 is of a vase-painting from Eretria.

=71. _Textual._ Eurynome= is represented by some as one of the Titans, the wife of Ophion. Ophion and Eurynome, according to one legend, ruled over heaven before the age of Saturn (Cronus). So Milton, Paradise Lost, 10, 580, "And fabled how the Serpent, whom they called Ophion, with Eurynome (the wide-Encroaching Eve perhaps), had first the rule Of high Olympus, thence by Saturn driven." According to Vulcan's statement (Iliad, 18), Eurynome was daughter of Oceanus and Tethys. She was mother, by Jupiter, of the Graces. =Thetis=: see =50=. =Xanthus=: the principal river of Lycia in Asia Minor.

=72-73. _Interpretative._ Latona= (=Leto=): according to Homer, one of the deities of Olympus; a daughter of the Titans C[oe]us and Ph[oe]be, whose names indicate phenomena of radiant light. She belonged, perhaps, to an ancient theogony of Asia Minor. At any rate she held at one time the rank of lawful wife to Zeus. Preller and, after him, Cox take Leto as _the dusk_ or _darkness_. Cox traces the word to the root of Lethe (the forgetful), but Preller is doubtful. Possibly Leto and Leda, the mother of the bright Castor and Pollux, have something in common. The wanderings of Latona may be the weary journey of the night over the mountain tops, both before and after the Sun (Apollo) is born in Delos (the land of Dawn).

=_Illustrative._= Milton, Arcades, 20, and Sonnet XII, "On the detraction which followed upon my writing certain treatises."

=74. _Textual._ Hyperboreans=: those who dwell in the land beyond the North. Pæan, see =C. 68=. =Tityus=: an earthborn giant; condemned to the underworld, he lay stretched over nine acres while two vultures devoured his liver.

=_Interpretative._ Python=: in many savage myths, a serpent, a frog, or a lizard that drinks up all the waters, and is destroyed by some national hero or god. As Mr. Lang says: "Whether the slaying of the Python was or was not originally an allegory of the defeat of winter by sunlight, it certainly, at a very early period, became mixed up with ancient legal ideas and local traditions. It is almost as necessary for a young god or hero to slay monsters as for a young lady to be presented at court; and we may hesitate to explain all these legends of a useful feat of courage as nature myths" (Myth, Ritual, etc., 2, 196). Compare the feats of Hercules, Jason, Bellerophon, Perseus, St. George and the Dragon, Sigurd, and Jack the Giant Killer. Commentators take Python to be the rigor of winter, or the darkness of night, or a "black storm-cloud which shuts up the waters" (Cox). It is not impossible that the Python was the sacred snake of an older animal worship superseded by that of Apollo. (See also =C. 38=.)

=75. _Textual._= The Tyrian hue is purple, made from the juice of the _murex_, or purple shellfish. On the leaves of the hyacinth were inscribed characters like Ai, Ai, the Greek exclamation of woe. It is evidently not our modern hyacinth that is here described, but perhaps some species of iris, or of larkspur, or pansy. The meaning of the name is also uncertain, but the best authorities favor _youthful_. A festival called the =Hyacinthia= was celebrated, in commemoration of the myth, over a large part of the Peloponnesus. It lasted three days, probably in the first half of July. It consisted of chants of lamentation and fasting during the first and last days; during the second day, of processions, a horse race, joyous choral songs, dances, feasting, and sacrifice.

=_Interpretative._= Most scholars consider Hyacinthus to be the personification of the blooming vegetation of spring, which withers under the heats of summer. The Hyacinthian festival seems to have celebrated--like the Linus festival and the Eleusinian--the transitory nature of life and the hope of immortality.

=_Illustrative._= Keats, Endymion, "Pitying the sad death Of Hyacinthus, when the cool breath Of Zephyr slew him" (see context); Milton, Lycidas, "Like to that sanguine flower inscribed with woe"; On the Death of a Fair Infant, 4.

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

=76. _Textual._ Clymene=: a daughter of Oceanus and Tethys. =Chrysolite=: or _gold stone_, our topaz. =Daystar=: Phosphor, see =38= (II). =Ambrosia= (#ambrosios#, #ambrotos#, #a-brotos#), _immortal_,--here, "food for the immortals." =Turn off to the= =left=: indicating the course of the sun, west by south. The =Serpent=, or =Dragon=: a constellation between the Great and Little Bears. =Boötes=: the constellation called the Wagoner. The limits of the =Scorpion= were restricted by the insertion of the sign of the Scales. =Athos=: a mountain forming the eastern of three peninsulas south of Macedonia. =Mount Taurus=: in Armenia. =Mount Tmolus=: in Lydia. =Mount [OE]te=: between Thessaly and Ætolia, where Hercules ascended his funeral pile. =Ida=: the name of two mountains,--one in Crete, where Jupiter was nurtured by Amalthea, the other in Phrygia, near Troy. =Mount Helicon=: in B[oe]otia, sacred also to Apollo. =Mount Hæmus=: in Thrace. =Ætna=: in Sicily. =Parnassus=: in Phocis; one peak was sacred to Apollo, the other to the Muses. The Castalian Spring, sacred to the Muses, is at the foot of the mountain; Delphi is near by. =Rhodope=: part of the Hæmus range of mountains. =Scythia=: a general designation of Europe and Asia north of the Black Sea. =Caucasus=: between the Black and Caspian seas. =Mount Ossa=: associated with =Mount Pelion= in the story of the giants, who piled one on top of the other in their attempt to scale Olympus. These mountains, with =Pindus=, are in Thessaly. =Libyan= desert: in Africa. Libya was fabled to have been the daughter of Epaphus, king of Egypt. =Tanaïs=: the Don, in Scythia. =Caïcus=: a river of Greater Mysia, flowing into the sea at Lesbos. =Xanthus= and =Mæander=: rivers of Phrygia, flowing near Troy. =Ca ster=: a river of Ionia, noted for its so-called "tuneful" swans. For Nereus, Doris, Nereïds, etc., see =50= and =52=. =Eridanus=: the mythical name of the river Po in Italy (amber was found on its banks). =Naiads=, see =52= (6).

_=Interpretative.=_ Apollo assumed many of the attributes of Helios, the older divinity of the sun, who is ordinarily reputed to be the father of Phaëthon (ordinarily anglicized Phaëton). The name _Phaëthon_, like the name _Ph[oe]bus_, means _the radiant one_. The sun is called both Helios Phaëthon and Helios Ph[oe]bus in Homer. It was an easy feat of the imagination to make Phaëthon the incautious son of Helios, or Apollo, and to suppose that extreme drought is caused by his careless driving of his father's chariot. The drought is succeeded by a thunderstorm; and the lightning puts an end to Phaëthon. The rain that succeeds the lightning is, according to Cox, the tears of the Heliades. It is hardly wise to press the analogy so far, unless one is prepared to explain the _amber_ in the same way.

_=Illustrative.=_ Milman in his Samor alludes to the story. See also Chaucer, Hous of Fame, 435; Spenser, Faerie Queene, 1, 4, 9; Shakespeare, Richard II, III, iii; Two Gentlemen of Verona, III, i; 3 Henry VI, I, iv; II, vi; Romeo and Juliet, III, ii. _=Poems=_: Prior, Female Phaëton; J. G. Saxe, Phaëton; and G. Meredith, Phaëton. For description of the palace and chariot of the Sun, see Landor, Gebir, Bk. I.

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

=77. _Textual._= For the siege of Troy, see Chap. XXII. =Atrides= (=Atreides=): the son of Atreus, Agamemnon. The ending _-ides_ means _son of_, and is used in patronymics; for instance, Pelides (Peleides), Achilles; Tydides, Diomede, son of Tydeus. The ending _-is_, in patronymics, means _daughter of_; as Tyndaris, daughter of Tyndarus (Tyndareus), Helen; Chryseïs, daughter of Chryses.

_=Interpretative.=_ Of this incident Gladstone, in his primer on Homer, says: "One of the greatest branches and props of morality for the heroic age lay in the care of the stranger and the poor.... Sacrifice could not be substituted for duty, nor could prayer. Such, upon the abduction of Chryseïs, was the reply of Calchas the Seer: nothing would avail but restitution."

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

TABLE F

=Jupiter= +-- =Tantalus= (k. of Phrygia) =Dione +-- =Niobe= | ==Amphion= | +-- 7 sons and 7 daughters +-- =Pelops= =Hippodamia +-- =Atreus= | =Aërope | +-- =Agamemnon= | +-- =Menelaüs= +-- Thyestes | +-- Ægisthus +-- Pittheus (k. of Tr[oe]zen) +-- Æthra =Ægeus +-- Theseus =Antiope +-- =Amphion= ==Niobe= +-- 7 sons and 7 daughters (see above)

=Atlas= +-- Dione | ==Tantalus= (k. of Phrygia) | +-- =Niobe= (see above) | +-- =Pelops= (see above) +-- Sterope II =Mars +-- [OE]nomaüs +-- Hippodamia ==Pelops= +-- =Atreus= (see above) +-- Thyestes (see above) +-- Pittheus (k. of Tr[oe]zen) (see above)

Minos II +-- Aërope ==Atreus= +-- =Agamemnon= (see above) +-- =Menelaüs= (see above)

=Pelops.= It is said that the goddess Demeter in a fit of absent-mindedness ate the shoulder of Pelops. The part was replaced in ivory when Pelops was restored to life. =Mount Cynthus=: in Delos, where Apollo and Diana were born.

=_Interpretative._= Max Müller derives =Niobe= from the root _snu_, or _snigh_, from which come the words for _snow_ in the Indo-European languages. In Latin and Greek, the stem is _Niv_, hence Nib, Niobe. The myth, therefore, would signify the melting of snow and the destruction of its icy offspring under the rays of the spring sun (Sci. Relig. 372). According to Homer (Iliad, 24, 611), there were six sons and six daughters. After their death no one could bury them, since all who looked on them were turned to stone. The burial was, accordingly, performed on the tenth day after the massacre, by Jupiter and the other gods. This petrifaction of the onlookers may indicate the operation of the frost. Cox says that Niobe, the snow, compares her golden-tinted, wintry mists or clouds with the splendor of the sun and moon. Others look upon the myth as significant of the withering of spring vegetation under the heats of summer (Preller). The latter explanation is as satisfactory, for spring is the child of winter (Niobe).

=_Illustrative._= Pope, Dunciad, 2, 311; Lewis Morris, Niobe on Sipylus (Songs Unsung); Byron's noble stanza on fallen Rome, "The Niobe of nations! there she stands, Childless and crownless, in her voiceless woe," etc. (Childe Harold, 4, 79); W. S. Landor, Niobe; Frederick Tennyson, Niobe. On =Tantalus=, see Lewis Morris, Tantalus, in The Epic of Hades. On Sir Richard Blackmore, a physician and poor poet, Thomas Moore writes the following stanza:

'T was in his carriage the sublime Sir Richard Blackmore used to rhyme, And, if the wits don't do him wrong, 'Twixt death and epics passed his time, Scribbling and killing all day long; Like Ph[oe]bus in his car at ease, Now warbling forth a lofty song, Now murdering the young Niobes.

=_In Art._= The restoration of the statue of Niobe, Mount Sipylus; of extreme antiquity. The St. Petersburg relief (Fig. 61, in text) is probably the best group. Figs. 60 and 62 are from the ancient marbles in the Uffizi, Florence. The fragments of the latter group were discovered in 1583 near the Porta San Giovanni, Rome. The figure of the mother, clasping the little girl who has run to her in terror, is one of the most admired of the ancient statues. It ranks with the Laocoön and the Apollo Belvedere among the masterpieces of art. The following is a translation of a Greek epigram supposed to relate to this statue:

To stone the gods have changed her, but in vain; The sculptor's art has made her breathe again.

There is also a fine figure of a daughter of Niobe in the Vatican, Rome; and there are figures in the Louvre. Reinach in his _Apollo_ attributes the originals to Scopas.

=79. _Interpretative._= The month in which the festival of =Linus= took place was called the =Lambs' Month=: the days were the =Lambs' Days=, on one of which was a massacre of dogs. According to some, Linus was a minstrel, son of Apollo and the Muse Urania, and the teacher of Orpheus and Hercules.

=80. Centaurs.= Monsters represented as men from the head to the loins, while the remainder of the body was that of a horse. Centaurs are the only monsters of antiquity to which any good traits were assigned. They were admitted to the companionship of men. =Chiron= was the wisest and justest of the Centaurs. At his death he was placed by Jupiter among the stars as the constellation Sagittarius (the Archer). =Messenia=: in the Peloponnesus. =Æsculapius=: there were numerous oracles of Æsculapius, but the most celebrated was at Epidaurus. Here the sick sought responses and the recovery of their health by sleeping in the temple. It has been inferred from the accounts that have come down to us that the treatment of the sick resembled what is now called animal magnetism or mesmerism.

Serpents were sacred to Æsculapius, probably because of a superstition that those animals have a faculty of renewing their youth by a change of skin. The worship of Æsculapius was introduced into Rome in a time of great sickness. An embassy, sent to the temple of Epidaurus to entreat the aid of the god, was propitiously received; and on the return of the ship Æsculapius accompanied it in the form of a serpent. Arriving in the river Tiber, the serpent glided from the vessel and took possession of an island, upon which a temple was soon erected to his honor.

=_Interpretative._= The healing powers of nature may be here symbolized. But it is more likely that the family of Asclepiadæ (a medical clan) invented Asklepios as at once their ancestor and the son of the god of healing, Apollo.

=_Illustrative._= Milton, Paradise Lost, 9, 506; Shakespeare, Pericles, III, ii; Merry Wives, II, iii.

=_In Art._= Æsculapius (sculpture), Vatican; also the statue in the Uffizi, Florence (text, Fig. 63). Thorwaldsen's (sculpture) Hygea (Health) and Æsculapius, Copenhagen.

=81. _Interpretative._= Perhaps the unceasing and unvarying round of the sun led to the conception of him as a servant. Max Müller cites the Peruvian Inca who said that if the sun were free, like fire, he would visit new parts of the heavens. "He is," said the Inca, "like a tied beast who goes ever round and round in the same track" (Chips, etc., 2, 113). Nearly all Greek heroes had to undergo servitude,--Hercules, Perseus, etc. No stories are more beautiful or more lofty than those which express the hope, innate in the human heart, that somewhere and at some time some god has lived as a man among men and for the good of men. Such stories are not confined to the Greeks or the Hebrews.

=_Illustrative_=. R. Browning, Apollo and the Fates; Edith M. Thomas, Apollo the Shepherd; Emma Lazarus, Admetus; W. M. W. Call, Admetus.

=83. _Textual._ Alcestis= was a daughter of the Pelias who was killed at the instigation of Medea (=167=). In that affair Alcestis took no part. For her family, see Table G. She was held in the highest honor in Greek fable, and ranked with Penelope and Laodamia, the latter of whom was her niece. To explain the myth as a physical allegory would be easy, but is it not more likely that the idea of _substitution_ finds expression in the myth?--that idea of atonement by sacrifice, which is suggested in the words of [OE]dipus at Colonus (=185=), "For one soul working in the strength of love Is mightier than ten thousand to atone." =Koré= (the daughter of Ceres): Proserpina. =Larissa=: a city of Thessaly, on the river Peneüs.

=_Illustrative._= Milton's sonnet, On his Deceased Wife:

Methought I saw my late espousèd saint Brought to me like Alcestis from the grave, Whom Jove's great son to her glad husband gave, Rescued from death by force, though pale and faint.

Chaucer, Legende of Good Women, 208 _et seq._; Court of Love (?), 100 _et seq._

=_Poems._= Robert Browning's noble poem, Balaustion's Adventure, purports to be a paraphrase of the Alcestis of Euripides, but while it maintains the classical spirit, it is in execution an original poem. The Love of Alcestis, by William Morris; Mrs. Hemans, The Alcestis of Alfieri, and The Death Song of Alcestis; W. S. Landor, Hercules, Pluto, Alcestis, and Admetus; Alcestis: F. T. Palgrave, W. M. W. Call, John Todhunter (a drama).

=_In Art._= Fig. 64, in text, Naples Museum; also the relief on a Roman sarcophagus in the Vatican.

=84. _Textual._= This Laomedon was descended, through Dardanus (the forefather of the Trojan race), from Jupiter and the Pleiad Electra. For further information about him, see =119=, =161=, and Table I.

=_Interpretative._= Apollo evidently fulfills, under Laomedon, his function as god of colonization.

=85-86. _Textual._= For Pan, see =43=; for Tmolus, =76=. =Peneüs=: a river in Thessaly, which rises in Mount Pindus and flows through the wooded valley of Tempe. =Dædal=: variously adorned, variegated. Midas was king of Phrygia (see =113=).

=_Illustrative._= The story of King Midas has been told by others with some variations. Dryden, in the Wife of Bath's Tale, makes Midas' queen the betrayer of the secret:

This Midas knew, and durst communicate To none but to his wife his ears of state.

=87. _Illustrative._= M. Arnold, Empedocles (Song of Callicles); L. Morris, Marsyas, in The Epic of Hades; Edith M. Thomas, Marsyas; E. Lee-Hamilton, Apollo and Marsyas.

=_In Art._= Raphael's drawing, Apollo and Marsyas (Museum, Venice); Bordone's Apollo, Marsyas, and Midas (Dresden); the Græco-Roman sculpture, Marsyas (Louvre); Marsyas (or Dancing Faun), in the Lateran, Rome.

=89. _Textual._= Daphne was a sister of Cyrene, another sweetheart of Apollo's (=145=). =Delphi=, in Phocis, and =Tenedos=, an island off the coast of Asia Minor, near Troy, were celebrated for their temples of Apollo. The latter temple was sacred to =Apollo Smintheus=, the Mouse-Apollo, probably because he had rid that country of mice as St. Patrick rid Ireland of snakes and toads. =Dido=: queen of Carthage (=252=), whose lover, Æneas, sailed away from her.

=_Interpretative._= Max Müller's explanation is poetic though not philologically probable. "Daphne, or Ahanâ, means the Dawn. There is first the appearance of the dawn in the eastern sky, then the rising of the sun as if hurrying after his bride, then the gradual fading away of the bright dawn at the touch of the fiery rays of the sun, and at last her death or disappearance in the lap of her mother, the earth." The word _Daphne_ also means, in Greek, a _laurel_; hence the legend that Daphne was changed into a laurel tree (Sci. Relig., 378, 379). Others construe Daphne as the _lightning_. It is, however, very probable that the Greeks of the myth-making age, finding certain plants and flowers sacred to Apollo, would invent stories to explain why he preferred the laurel, the hyacinth, the sunflower, etc. "Such myths of metamorphoses" are, as Mr. Lang says, "an universal growth of savage fancy, and spring from a want of a sense of difference between men and things" (Myth, Ritual, etc., 2, 206).

=_Illustrative._= Shakespeare, Midsummer Night's Dream, II, ii; Taming of the Shrew, Induction ii; Troilus and Cressida, I, i; Milton, Comus, 59, 662; Hymn on the Nativity, II. 176-180, Vacation, 33-40; Paradise Lost, 4, 268-275; Paradise Regained, 2, 187; Lord de Tabley (Wm. Lancaster), Daphne, "All day long, In devious forest, Grove, and fountain side, The god had sought his Daphne," etc.; Lyly, King Mydas; Apollo's Song to Daphne; Frederick Tennyson, Daphne. Waller applies this story to the case of one whose amatory verses, though they did not soften the heart of his mistress, yet won for the poet widespread fame:

Yet what he sung in his immortal strain, Though unsuccessful, was not sung in vain. All but the nymph that should redress his wrong, Attend his passion and approve his song. Like Ph[oe]bus thus, acquiring unsought praise, He caught at love and filled his arms with bays.

=_In Art._= Fig. 67, in text; Bernini's Apollo and Daphne, in the Villa Borghese, Rome (see text, opp. p. 112). Painting: G. F. Watts' Daphne.

=91. _Illustrative._= Hood, Flowers, "I will not have the mad Clytia, Whose head is turned by the sun," etc.; W. W. Story, Clytie; Mrs. A. Fields, Clytia. The so-called bust of Clytie (discovered not long ago) is possibly a representation of Isis.

=93. _Textual._ Elis=: northwestern part of the Peloponnesus. =Alpheüs=: a river of Elis flowing to the Mediterranean. The river Alpheüs does in fact disappear under ground, in part of its course, finding its way through subterranean channels, till it again appears on the surface. It was said that the Sicilian fountain Arethusa was the same stream, which, after passing under the sea, came up again in Sicily. Hence the story ran that a cup thrown into the Alpheüs appeared again in the Arethusa. It is, possibly, this fable of the underground course of Alpheüs that Coleridge has in mind in his dream of Kubla Khan:

In Xanadu did Kubla Khan A stately pleasure-dome decree: Where Alph, the sacred river, ran Through caverns measureless to man, Down to a sunless sea.

In one of Moore's juvenile poems he alludes to the practice of throwing garlands or other light objects on the stream of Alpheüs, to be carried downward by it, and afterward reproduced at its emerging, "as an offering To lay at Arethusa's feet."

=The Acroceraunian Mountains= are in Epirus in the northern part of Greece. It is hardly necessary to point out that a river Arethusa arising there could not possibly be approached by an Alpheüs of the Peloponnesus. Such a criticism of Shelley's sparkling verses would however be pedantic rather than just. Probably Shelley uses the word _Acroceraunian_ as synonymous with _steep_, _dangerous_. If so, he had the practice of Ovid behind him (Remedium Amoris, 739). =Mount Erymanthus=: between Arcadia and Achaia. The =Dorian= deep: the Peloponnesus was inhabited by descendants of the fabulous Dorus. =Enna=: a city in the center of Sicily. =Ortygia=: an island on which part of the city of Syracuse is built.

=_Illustrative._= Milton, Arcades, 30; Lycidas, 132; Margaret J. Preston, The Flight of Arethusa; Keats, Endymion, Bk. 2, "On either side out-gushed, with misty spray, A copious spring."

=95.= See genealogical table =E= for =Actæon=. In this myth Preller finds another allegory of the baleful influence of the dog days upon those exposed to the heat. Cox's theory that here we have large masses of cloud which, having dared to look upon the clear sky, are torn to pieces and scattered by the winds, is principally instructive as illustrating how far afield theorists have gone, and how easy it is to invent ingenious explanations.

=_Illustrative._= Shakespeare, Merry Wives, II, i; III, ii; Titus Andronicus, II, iii; Shelley, Adonais, 31, "Midst others of less note, came one frail Form," etc., a touching allusion to himself; A. H. Clough, Actæon; L. Morris, Actæon (Epic of Hades).

=96. Chios=: an island in the Ægean. =Lemnos=: another island in the Ægean, where Vulcan had a forge.

=_Interpretative._= The ancients were wont to glorify in fable constellations of remarkable brilliancy or form. The heavenly adventures of =Orion= are sufficiently explained by the text.

=_Illustrative._= Spenser, Faerie Queene, 1, 3, 31; Milton, Paradise Lost, 1, 299, "Natheless he so endured," etc.; Longfellow, Occultation of Orion; R. H. Horne, Orion; Charles Tennyson Turner, Orion (a sonnet).

=97. Electra.= See genealogical table I. See same table for =Merope=, the mother of Glaucus and grandmother of Bellerophon (=155=).

=_Illustrative._ Pleiads=: Milton, Paradise Lost, 7, 374; Pope, Spring, 102; Mrs. Hemans has verses on the same subject; Byron, "Like the lost Pleiad seen no more below."

In modern sculpture, The Lost Pleiad of Randolph Rogers is famous; in painting, the Pleiades of Elihu Vedder (Fig. 72, in text).

=98. Mount Latmos=: in Caria. Diana is sometimes called =Ph[oe]be=, the shining one. For the descendants of Endymion, the Ætolians, etc., see Table I.

=_Interpretative._= According to the simplest explanation of the =Endymion= myth, the hero is the setting sun on whom the upward rising moon delights to gaze. His fifty children by Selene would then be the fifty months of the Olympiad, or Greek period of four years. Some, however, consider him to be a personification of sleep, the king whose influence comes over one in the cool caves of Latmos, "the Mount of Oblivion"; others, the growth of vegetation under the dewy moonlight; still others, euhemeristically, a young hunter, who under the moonlight followed the chase, but in the daytime slept.

=_Illustrative._= The Endymion of Keats. Fletcher, in the Faithful Shepherdess, tells, "How the pale Ph[oe]be, hunting in a grove, First saw the boy Endymion," etc. Young, Night Thoughts, "So Cynthia, poets feign, In shadows veiled, ... Her shepherd cheered"; Spenser, Epithalamion, "The Latmian Shepherd," etc.; Marvel, Songs on Lord Fauconberg and the Lady Mary Cromwell (chorus, Endymion and Laura); O. W. Holmes, Metrical Essays, "And, Night's chaste empress, in her bridal play, Laughed through the foliage where Endymion lay."

=_Poems._= Besides Keats' the most important are by Lowell, Longfellow, Clough (Epi Latmo, and Selene), T. B. Read, Buchanan, L. Morris (Epic of Hades). John Lyly's prose drama, Endymion, contains quaint and delicate songs.

=_In Art._= Fig. 73, in text; Diana and the sleeping Endymion (Vatican).

=_Paintings._= Carracci's fresco, Diana embracing Endymion (Farnese Palace, Rome); Guercino's Sleeping Endymion; G. F. Watts' Endymion.

=100. _Textual._ Paphos= and =Amathus=: towns in Cyprus, of which the former contained a temple to Venus. =Cnidos= (Cnidus or Gnidus): a town in Caria, where stood a famous statue of Venus, attributed to Praxiteles. =Cytherea=: Venus, an adjective derived from her island Cythera in the Ægean Sea. =Acheron=, and =Persephone= or =Proserpine=: see =44-48=. The wind-flower of the Greeks was of bloody hue, like that of the pomegranate. It is said the wind blows the blossoms open, and afterwards scatters the petals.

=_Interpretative._= Among the P[oe]nicians Venus is known as Astarte, among the Assyrians as Istar. The =Adonis= of this story is the Ph[oe]nician _Adon_, or the Hebrew _Adonai_, 'Lord.' The myth derives its origin from the Babylonian worship of Thammuz or Adon, who represents the verdure of spring, and whom his mistress, the goddess of fertility, seeks, after his death, in the lower regions. With their departure all birth and fruitage cease on the earth; but when he has been revived by sprinkling of water, and restored to his mistress and to earth, all nature again rejoices. The myth is akin to those of Linus, Hyacinthus, and Narcissus. Mannhardt (Wald-und Feld-kulte, 274), cited by Roscher, supplies the following characteristics common to such religious rites in various lands: (1) The spring is personified as a beautiful youth who is represented by an image surrounded by quickly fading flowers from the "garden of Adonis." (2) He comes in the early year and is beloved by a goddess of vegetation, goddess sometimes of the moon, sometimes of the star of Love. (3) In midsummer he dies, and during autumn and winter inhabits the underworld. (4) His burial is attended with lamentations, his resurrection with festivals. (5) These events take place in midsummer and in spring. (6) The image and the _Adonis_ plants are thrown into water. (7) Sham marriages are celebrated between pairs of worshipers.

=_Illustrative._= The realistic Idyl XV of Theocritus contains a typical Psalm of Adonis, sung at Alexandria, for his resurrection. Shakespeare's Venus and Adonis; Taming of the Shrew, Induction ii; 1 Henry VI, I, vi. In Milton, Comus, 998:

Beds of hyacinth and roses, Where young Adonis oft reposes, Waxing well of his deep wound, In slumber soft, and on the ground Sadly sits th' Assyrian queen.

Drummond, The Statue of Adonis; Pope, Summer, 61; Winter, 24; Miscel. 7, 10; Moral Essays, 3, 73; Dunciad, 5, 202. See C. S. Calverley, Death of Adonis (Theocritus); L. Morris, Adonis (Epic of Hades).

=_In Art._= Fig. 74, in text, from a Roman sarcophagus. The Dying Adonis, (sculpture), Michelangelo; the Adonis of Thorwaldsen in the Glyptothek, Munich.

=101-102. _Textual._ Psyche= does not eat anything in Hades, because, by accepting the hospitality of Proserpina, she would become an inmate of her household. The scene with the lamp and knife probably indicates the infringement of some ancient matrimonial custom. =Erebus=: the land of darkness, Hades. For =Zephyr=, =Acheron=, =Cerberus=, =Charon=, etc., see Index.

=_Interpretative._= The fable of Cupid and Psyche is usually regarded as allegorical. The Greek name for _butterfly_ is Psyche, and the same word means the _soul_. There is no illustration of the immortality of the soul so striking and beautiful as that of the butterfly, bursting on brilliant wings from the tomb in which it has lain, after a dull, groveling, caterpillar existence, to flutter in the blaze of day and feed on the most fragrant and delicate productions of the spring. Psyche, then, is the human soul, which is purified by sufferings and misfortunes, and is thus prepared for the enjoyment of true and pure happiness. It is probable that the story allegorizes a philosophical conception concerning _three_ stages of the soul's life: first, a former existence of bliss; second, an earthly existence of trial; third, a heavenly future of fruition. Cox, by his usual method, finds here a myth of the search for the Sun (Eros) by the Dawn (Psyche). Many of the incidents of the story will be found in modern fairy tales and romances, such as Beauty and the Beast, Grimm's Twelve Brothers; the Gaelic stories: The Three Daughters of King O'Hara; Fair, Brown, and Trembling; The Daughter of the Skies; and the Norse tale--East of the Sun and West of the Moon. See Cox 1, 403-411.

=_Illustrative._= Thomas Moore, Cupid and Psyche; Mrs. Browning, Psyche, Paraphrase on Apuleius; L. Morris, in The Epic of Hades; Frederick Tennyson, Psyche; Robert Bridges, Eros and Psyche. Most important is W. H. Pater's Marius the Epicurean, which contains the story as given by Apuleius.

=_In Art._= Psyche is represented as a maiden with the wings of a butterfly, in the different situations described in the allegory. The Græco-Roman sculpture of Cupid and Psyche, in the Capitol at Rome, is of surpassing beauty; so also is Canova's Cupid and Psyche.

=_Paintings._= Raphael's frescoes in the Farnesina Villa, twelve in number, illustrating the story; François Gérard's Cupid and Psyche; Paul Thumann's nine illustrations of the story (see Figs. 75, 76, in text); R. Beyschlag's Psyche with the Urn, Psyche Grieving, and Psyche and Pan; W. Kray's Psyche and Zephyr; Psyche: by A. de Curzon; by G. F. Watts, a series of three illustrations by H. Bates. The Charon and Psyche of E. Neide is a sentimental, simpering conception. A. Zick also has a Psyche.

=_103._= According to another tradition, =Atalanta's= love was Milanion. The nuptial vow was ratified by Hera (Juno). This, the B[oe]otian, Atalanta is sometimes identified with the Arcadian Atalanta of the Calydonian Hunt. (See =168= and Table D). It is better to discriminate between them. The genealogy of this Atalanta will be seen in Tables G and I.

=_Illustrative._= W. Morris, Atalanta's Race (Earthly Paradise); Moore, Rhymes on the Road, on Alpine Scenery,--an allusion to Hippomenes.

=_In Art._= Painting by E. J. Poynter, Atalanta's Race (Fig. 78, in text); and Guido Reni's brilliant picture of the same subject.

=104. _Textual_= and =_Illustrative._= The story of =Hero and Leander= is the subject of a romantic poem by Musæus, a grammarian of Alexandria, who lived in the fifth century A.D. This author, in distinction from the mythical poet of the same name, is styled the Pseudo-Musæus. The _epyllion_ has been translated by Sir Robert Stapylton, Sir Edwin Arnold, and others. The feat of swimming the Hellespont was performed by Lord Byron. The distance in the narrowest part is not more than a mile, but there is a constant dangerous current setting out from the Sea of Marmora into the Archipelago. For an allusion to the story see Byron, Bride of Abydos, Canto II. For Byron's statement concerning the breadth of the water see footnote to "Stanzas written after swimming from Sestos to Abydos."

=_Poems._ Hero and Leander=: by Leigh Hunt, by Tom Hood, by Moore; sonnet by D. G. Rossetti, Hero's Lamp (House of Life); a poem not in later editions of Tennyson, Hero to Leander, 1830; Chapman's continuation of Marlowe's Hero and Leander.

=_Paintings._= G. von Bodenhausen; F. Keller (Fig. 79, in text).

=105. _Interpretative._= Another illustration of the vivifying influence of love. Preller deems Pygmalion's story nearly akin to the Adonis myth. He regards the festival of Venus, during which the statue of Galatea (or passive love) receives life, as the usual Adonis-festival.

TABLE G. THE CONNECTIONS OF ATALANTA THE B[OE]OTIAN

=Prometheus= +-- Deucalion =Pyrrha +-- Hellen +-- Æolus | +-- Other sons (See Table I) | +-- Athamas | | =Nephele | | +-- =Helle= | | +-- Phryxus | | =Ino | | +-- Melicertes | | =Themisto | | +-- =Sch[oe]nus= of B[oe]otia | | +-- =Atalanta= (Hippomenes) | +-- Sisyphus (Merope) | | +-- =Glaucus= | | +-- =Bellerophon= | +-- Salmoneus | | +-- Tyro | | =Neptune | | +-- Neleus | | | +-- Nestor | | | | +-- Antilochus | | | +-- Pero | | | =Bias | | | +-- Talaüs | | | +-- Adrastus | | | +-- Eriphyle | | | =Amphiaraüs | | | +-- Alcmæon | | | | =Arsinoë | | | +-- Amphilochus | | +-- Pelias | | +-- =Evadne= | | +-- Acastus | | | +-- =Laodamia= | | | =Protesilaüs | | +-- =Alcestis= | | ==Admetus= | | =Cretheus | | +-- Pheres | | | +-- =Admetus= | | | ==Alcestis= | | +-- Æson | | | +-- =Jason= | | +-- Amythaon | | +-- Bias | | | =Pero | | | +-- Talaüs (see above) | | +-- Melampus (the Prophet) | | +-- Antiphates | | +-- Oïcles | | =Hypermnestra | | +-- Amphiaraüs | | =Eriphyle | | +-- Alcmæon (see above) | | +-- Amphilochus (see above) | +-- Cretheus | =Tyro | +-- Pheres (see above) | +-- Æson (see above) | +-- Amythaon (see above) +-- Dorus +-- Xuthus +-- Achæus +-- Ion

=Epimetheus= ==Pandora= +-- Pyrrha =Deucalion +-- Hellen (see above)

=_Illustrative._= Thomson, Castle of Indolence, 2, 12; R. Buchanan, Pygmalion the Sculptor; Morris, and Lang, as in text; Pygmalion: by T. L. Beddoes, by W. C. Bennett. The seventeenth-century satirist, Marston, wrote a Pygmalion, of no great worth. Frederick Tennyson, Pygmalion (in Daphne and other Poems); Arthur Henry Hallam, Lines spoken in the Character of Pygmalion; Thomas Woolner, Pygmalion.

=_In Art._= The Pygmalion series of four scenes, by E. Burne-Jones.

=106. _Textual._ Semiramis=: wife of King Ninus and the queen of Assyria. Famous for her administrative and military ability. A mythical character with features of historic probability.

=_Illustrative._= Chaucer, Thisbe, the Martyr of Babylon (Legende of Good Women). Allusions in Surrey, Of the Death of Sir Thomas Wyatt; Shakespeare, Midsummer Night's Dream, III, ii; V, i; Merchant of Venice, V, i. Moore, in the Sylph's Ball, draws a comparison between Thisbe's wall and the gauze of Davy's safety lamp. Mickle's translation of the Lusiad (Island of Love).

=_In Art._= Burne-Jones' three paintings, Cupid, Pyramus, and Thisbe (Fig. 80, in text); E. J. Paupion's painting, Thisbe.

=107. _Textual._ Lesbos= and =Chios=: islands in the Ægean. For =Sappho= see =298= (3).

=_Illustrative._= The second lyric of Sappho, beginning "Like to the gods he seems to me, The man that sits reclined by thee," has been translated by Phillips, by Fawkes, and by recent poets. The reference is probably to Phaon. Allusions in Pope, Moral Essays, 3, 121; 2, 24; Prologue to Satires, 309, 101; Byron's Isles of Greece, already referred to. Compare the translation in Catullus, LI.

=_Poems_= on Sappho or on Phaon: Charles Kingsley, Sappho; Buchanan, Sappho on the Leucadian Rock; Landor,--Sappho, Alcæus, Anacreon, and Phaon; Frederick Tennyson, Kleïs or the Return (in the Isles of Greece). See also Lyly's amusing prose drama, Sappho and Phao.

=109. _Textual._ Mount Cyllene=: between Arcadia and Achæa. =Pierian Mountains=: in Macedonia, directly north of Thessaly; the birthplace of the Muses. =Pylos=: an ancient city of Elis.

=_Interpretative._= On the supposition that the herds of Apollo are the bright rays of the sun, a plausible physical explanation of the relations of =Mercury= (Hermes) to Apollo is the following from Max Müller: "Hermes is the god of the twilight, who betrays his equivocal nature by stealing, though only in fun, the herds of Apollo, but restoring them without the violent combat that (in the analogous Indian story) is waged for the herds between Indra, the bright god, and Vala, the robber. In India the dawn brings the light; in Greece the twilight itself is supposed to have stolen it, or to hold back the light, and Hermes, the twilight, surrenders the booty when challenged by the sun-god Apollo" (Lect. on Lang., 2 Ser., 521-522). Hermes is connected by Professor Müller with the Vedic god _Sarameya_, son of the twilight. Mercury, or Hermes, as morning or as evening twilight, loves the Dew, is herald of the gods, is spy of the night, is sender of sleep and dreams, is accompanied by the cock, herald of dawn, is the guide of the departed on their last journey. To the conception of twilight, Cox adds that of _motion_, and explains Hermes as the _air in motion_ that springs up with the dawn, gains rapidly in force, sweeps before it the _clouds_ (here the cattle of Apollo), makes soft music through the trees (lyre), etc. Other theorists make Hermes the Divine Activity, the god of the ether, of clouds, of storm, etc. Though the explanations of Professor Müller and the Rev. Sir G. W. Cox are more satisfactory here than usual, Roscher's _the swift wind_ is scientifically preferable.

=_Illustrative._= See Shelley, Homeric Hymn to Mercury, on which the text of this section is based, and passages in Prometheus Unbound; Keats, Ode to Maia.

=_In Art._= The intent of the disguise in Fig. 81 (text) is to deceive Demeter with a sham sacrifice.

=110-112. _Textual._= See Table E, for Bacchus, Pentheus, etc. =Nysa= "has been identified as a mountain in Thrace, in B[oe]otia, in Arabia, India, Libya; and Naxos, as a town in Caria or the Caucasus, and as an island in the Nile." =Thebes=: the capital of B[oe]otia. =Mæonia=: Lydia, in Asia Minor. =Dia=: Naxos, the largest of the Cyclades Islands in the Ægean. =Mount Cithæron=: in B[oe]otia. The =Thyrsus= was a wand, wreathed with ivy and surmounted by a pine cone, carried by Bacchus and his votaries. =Mænads= and =Bacchantes= were female followers of Bacchus. =Bacchanal= is a general term for his devotees.

=_Interpretative._= "=Bacchus= (Dionysus) is regarded by many as the _spiritual form_ of the new vernal life, the sap and pulse of vegetation and of the new-born year, especially as manifest in the vine and juice of the grape."--LANG, Myth, Ritual, etc., 2, 221 (from Preller 1, 554). The =Hyades= (rain-stars), that nurtured the deity, perhaps symbolize the rains that nourish sprouting vegetation. He became identified very soon with the _spirituous effects_ of the vine. His sufferings may typify the "ruin of the summer year at the hands of storm and winter," or, perhaps, the agony of the bleeding grapes in the wine press. The orgies would, according to this theory, be a survival of the ungoverned actions of savages when celebrating a festival in honor of the deity of plenty, of harvest home, and of intoxication. But in cultivated Greece, Dionysus, in spite of the surviving orgiastic ceremonies, is a poetic incarnation of blithe, changeable, spirited youth. See Lang, Myth, Ritual, etc., 2, 221-241. That =Rhea= taught him would account for the Oriental nature of his rites; for Rhea is an Eastern deity by origin. The opposition of =Pentheus= would indicate the reluctance with which the Greeks adopted his doctrine and ceremonial. The Dionysiac worship came from Thrace, a barbarous clime;--but wandering, like the springtide, over the earth, Bacchus conquered each nation in turn. It is probable that the Dionysus-Iacchus cult was one of evangelical enthusiasm and individual cleansing from sin, of ideals in this life and of personal immortality in the next. By introducing it into Greece, Pisistratus reformed the exclusive ritual of the Eleusinian Mysteries.

Of the =Festivals of Dionysus=, the more important in Attica were the Lesser Dionysia, in December; the Lenæa, in January; the Anthesteria, or spring festival, in February; and the Great Dionysia, in March. These all, in greater or less degree, witnessed of the culture and the glories of the vine, and of the reawakening of the spirits of vegetation. They were celebrated, as the case might be, with a sacrifice of a victim in reminiscence of the blood by which the spirits of the departed were supposed to be nourished, with processions of women, profusion of flowers, orgiastic songs and dances, or dramatic representations.

=_Illustrative._ Bacchus=: Milton, Comus, 46. =Pentheus=: Landor, The Last Fruit of an Old Tree; H. H. Milman, The Bacchanals of Euripides; Calverley's and Lang's translations of Theocritus, Idyl XXVI; Thomas Love Peacock, Rhododaphne: The Vengeance of Bacchus; B. W. Procter, Bacchanalian Song. =Naxos=: Milton, Paradise Lost, 4, 275.

_=In Art.=_ Figs. 31, 82-87, 143, in text.

=113. _Textual._= Hesperides, see Index. =River Pactolus=: in Lydia. =Midas=: the son of one Gordius, who from a farmer had become king of Phrygia, because he happened to fulfill a prophecy by entering the public square of some city just as the people were casting about for a king. He tied his wagon in the temple of the prophetic deity with the celebrated =Gordian Knot=, which none but the future lord of Asia might undo. Alexander the Great undid the knot with his sword.

_=Interpretative.=_ An ingenious, but not highly probable, theory explains the golden touch of Midas as the rising sun that gilds all things, and his bathing in Pactolus as the quenching of the sun's splendor in the western ocean. =Midas= is fabled to have been the son of the "great mother," Cybele, whose worship in Phrygia was closely related to that of Bacchus or Dionysus. The =Sileni= were there regarded as tutelary _genii_ of the rivers and springs, promoting fertility of the soil. =Marsyas=, an inspired musician in the service of Cybele, was naturally associated in fable with Midas. The ass being the favorite animal of Silenus, the ass's ears of Midas merely symbolize his fondness for and devotion to such habits as were attributed to the Sileni. The ass, by the way, was reverenced in Phrygia; the acquisition of ass's ears may therefore have been originally a glory, not a disgrace.

_=Illustrative.=_ John Lyly, Play of Mydas, especially the song, "Sing to Apollo, god of day"; Shakespeare, Merchant of Venice, III, ii (casket scene); Pope, Dunciad, 3, 342; Prologue to Satires, 82; Swift, The Fable of Midas; J. G. Saxe, The Choice of King Midas (a travesty). =Gordian Knot=: Henry V, I, i; Cymbeline, II, ii; Milton, Paradise Lost, 4, 348; Vacation, 90. =Pactolus=: Pope, Spring, 61; allusions also to the sisters of Phaëthon. =Silenus=, by W. S. Landor.

=114-117. _Textual._ Mount Eryx=, the vale of =Enna=, and =Cyane= are in Sicily. =Eleusis=: in Attica. For =Arethusa= see Index.

=_Interpretative._= The Italian goddess Ceres assumed the attributes of the Greek Demeter in 496 B.C. Proserpine signifies the seed-corn which, when cast into the ground, lies there concealed,--is carried off by the god of the underworld; when the corn reappears, Proserpine is restored to her mother. Spring leads her back to the light of day. The following, from Aubrey De Vere's Introduction to his Search for Proserpine, is suggestive: "Of all the beautiful fictions of Greek Mythology, there are few more exquisite than the story of Proserpine, and none deeper in symbolical meaning. Considering the fable with reference to the physical world, Bacon says, in his Wisdom of the Ancients, that by the Rape of Proserpine is signified the disappearance of flowers at the end of the year, when the vital juices are, as it were, drawn down to the central darkness, and held there in bondage. Following up this view of the subject, the Search of her Mother, sad and unavailing as it was, would seem no unfit emblem of Autumn and the restless melancholy of the season; while the hope with which the Goddess was finally cheered may perhaps remind us of that unexpected return of fine weather which occurs so frequently, like an omen of Spring, just before Winter closes in. The fable has, however, its moral significance also, being connected with that great mystery of Joy and Grief, of Life and Death, which pressed so heavily on the mind of Pagan Greece, and imparts to the whole of her mythology a profound interest, spiritual as well as philosophical. It was the restoration of Man, not of flowers, the victory over Death, not over Winter, with which that high Intelligence felt itself to be really concerned." In Greece two kinds of =Festivals=, the =Eleusinia= and the =Thesmophoria=, were held in honor of Demeter and Persephone. The former was divided into the lesser, celebrated in February, and the greater (lasting nine days), in September. Distinction must be made between the Festivals and the Mysteries of Eleusis. In the Festivals all classes might participate. Those of the Spring represented the restoration of Persephone to her mother; those of the Autumn the rape of Persephone. An image of the youthful Iacchus (Bacchus) headed the procession in its march toward Eleusis. At that place and in the neighborhood were enacted in realistic fashion the wanderings and the sufferings of Demeter, the scenes in the house of Celeus, and finally the successful conclusion of the search for Persephone. The =Mysteries= of Eleusis were witnessed only by the initiated, and were invested with a veil of secrecy which has never been fully withdrawn. The initiates passed through certain symbolic ceremonies from one degree of mystic enlightenment to another till the highest was attained. The Lesser Mysteries were an introduction to the Greater; and it is known that the rites involved partook of the nature of purification from passion, crime, and the various degradations of human existence. By pious contemplation of the dramatic scenes presenting the sorrows of Demeter, and by participation in sacramental rites, it is probable that the initiated were instructed in the nature of life and death, and consoled with the hope of immortality (Preller). On the development of the Eleusinian Mysteries from the savage to the civilized ceremonial, see Lang, Myth, Ritual, etc., 2, 275, and Lobeck, Aglaophamus, 133.

The =Thesmophoria= were celebrated by married women in honor of Ceres (Demeter), and referred to institutions of married life.

That Proserpine should be under bonds to the underworld because she had partaken of food in Hades accords with a superstition not peculiar to the Greeks, but to be "found in New Zealand, Melanesia, Scotland, Finland, and among the Ojibbeways" (Lang, Myth, Ritual, etc., 2, 273).

=_Illustrative._= Aubrey De Vere, as above; B. W. Procter, The Rape of Proserpine; R. H. Stoddard, The Search for Persephone; G. Meredith, The Appeasement of Demeter; Tennyson, Demeter and Persephone; Dora Greenwell, Demeter and Cora; T. L. Beddoes, Song of the Stygian Naiades; A. C. Swinburne, Song to Proserpine. See also notes under Persephone, =44=, Demeter and Pluto. =Eleusis=: Schiller, Festival of Eleusis, translated by N. L. Frothingham; At Eleusis, by Swinburne. See, for poetical reference, Milton, Paradise Lost, 4, 269, "Not that fair field Of Enna," etc.; Hood, Ode to Melancholy:

Forgive if somewhile I forget, In woe to come the present bliss; As frighted Proserpine let fall Her flowers at the sight of Dis.

_=In Art.=_ Bernini's Pluto and Proserpine (sculpture); P. Schobelt's Rape of Proserpine (picture). Eleusinian relief: Demeter, Cora, Triptolemus (Athens); and other figures, as in text.

=118. _Textual._ Tænarus=: in Laconia. For the crime of =Tantalus=, see =78=. In Hades he stood up to his neck in water which receded when he would drink; grapes hanging above his head withdrew when he would pluck them; while a great rock was forever just about to fall upon him. =Ixion=, for an insult to Juno, was lashed with serpents or brazen bands to an ever-revolving wheel. =Sisyphus=, for his treachery to the gods, vainly rolled a stone toward the top of a hill (see =255=). For the =Danaïds=, see =150=; =Cerberus=, =44=, =255=. =The Dynast's bond=: the contract with Pluto, who was Dynast or tyrant of Hades. =Ferry-guard=: Charon. =Strymon= and =Hebrus=: rivers of Thrace. =Libethra=: a city on the side of Mount Olympus, between Thessaly and Macedonia.

=_Interpretative._ The loss of Eurydice= may signify (like the death of Adonis and the rape of Proserpine) the departure of spring. Max Müller, however, identifies _Orpheus_ with the Sanskrit _Arbhu_, used as a name for the Sun (Chips, etc., 2, 127). According to this explanation the Sun follows Eurydice, "the wide-spreading flush of the dawn who has been stung by the serpent of night," into the regions of darkness. There he recovers Eurydice, but while he looks back upon her she fades before his gaze, as the mists of morning vanish before the glory of the rising sun (Cox). It might be more consistent to construe _Eurydice_ as the _twilight_, first, of evening which is slain by night, then, of morning which is dissipated by sunrise. Cox finds in the music of Orpheus the delicious strains of the breezes which accompany sunrise and sunset. The story should be compared with that of Apollo and Daphne, and of Mercury and Apollo. The Irish tale, The Three Daughters of King O'Hara, reverses the relation of Orpheus and Eurydice. See Curtin, Myths and Folk-Lore of Ireland, Boston, 1890.

=_Illustrative._ Orpheus=: Shakespeare, Two Gentlemen of Verona, III, ii; Merchant of Venice, V, i; Henry VIII, III, i (song); Milton, Lycidas, 58; L'Allegro, 145; Il Penseroso, 105; Pope, Ode on St. Cecilia's Day (Eurydice); Summer, 81; Southey, Thalaba (The Nightingale's Song over the Grave of Orpheus).

=_Poems._= Wordsworth, The Power of Music; Shelley, Orpheus, a fragment; Browning, Eurydice and Orpheus; Wm. Morris, Orpheus and the Sirens (Life and Death of Jason); L. Morris, Orpheus, Eurydice (Epic of Hades); Lowell, Eurydice; E. Dowden, Eurydice; W.B. Scott, Eurydice; E.W. Gosse, The Waking of Eurydice; R. Buchanan, Orpheus, the Musician; J.G. Saxe, Travesty of Orpheus and Eurydice. On =Tantalus= and =Sisyphus=, see Spenser, Faerie Queene, 1, 5, 31-35; L. Morris, Epic of Hades.

_=In Art.=_ A Relief on a tombstone in the National Museum, Naples, of Mercury, Orpheus, and Eurydice. There is also a copy in Paris of the marble in the Villa Albani, Rome. (See Fig. 94, text.) Paintings: Fig. 93, in text, by Sir Frederick Leighton; by Robert Beyschlag; by G.F. Watts; The Story of Orpheus, a series of ten paintings, by E. Burne-Jones.

=119-120. _Textual._ Troy=: the capital of Troas in Asia Minor, situated between the rivers Scamander and Simois. Famous for the siege conducted by the Greeks under Agamemnon, Menelaüs, etc. (See Chap. XXII.) =Amymone=: a fountain of Argolis. =Enipeus=: a river of Macedonia.

_=Interpretative.=_ The monsters that wreak the vengeance of Neptune are, of course, his destructive storms and lashing waves.

=121.= For genealogy of Pelops, etc., see Tables F and I. For the misfortunes of the Pelopidæ, see =193=.

_=Illustrative in Art.=_ Pelops and Hippodamia; vase pictures (Monuments inédits, Rome, and Paris). East pediment, Temple of Zeus, Olympia.

=123-124. _Textual._ Cephalus=, the son of Mercury (Hermes) and Herse, is irretrievably confounded with Cephalus, the son of Deïon and grandson of Æolus I. The former should, strictly, be regarded as the lover of Aurora (Eos); the latter is the husband of Procris, and the great-grandfather of Ulysses. (See Tables H, I, and O (4).)

=_Interpretative._ Procris= is the dewdrop (from Greek _Pr[=o]x_, 'dew') which reflects the shining rays of the sun. The "head of the day," or the rising sun, Cephalus, is also wooed by Aurora, the Dawn, but flies from her. The Sun slays the dew with the same gleaming darts that the dew reflects, or gives back to him. According to Preller, Cephalus is the morning-star beloved alike by Procris, the moon, and by Aurora, the dawn. The concealment of Procris in the forest and her death would, then, signify the paling of the moon before the approaching day. Hardly so probable as the former explanation.

=_Illustrative._ Aurora=: Spenser, Faerie Queene, 1, 2, 7; 1, 4, 16; Shakespeare, Midsummer Night's Dream, III, ii; Romeo and Juliet, I, i; Milton, Paradise Lost, 5, 6, "Now Morn, her rosy steps in the eastern clime Advancing," etc.; L'Allegro, 19; Landor, Gebir, "Now to Aurora borne by dappled steeds, The sacred gates of orient pearl and gold ... Expanded slow," etc. =Cephalus= and =Procris=: in Moore, Legendary Ballads; Shakespeare, Midsummer Night's Dream, "Shafalus and Procrus"; A. Dobson, The Death of Procris.

=_In Art._ Aurora=: Figs. 97 and 99, as in text; paintings, by Guido Reni, as Fig. 98 in text, and by J.L. Hamon, and Guercino. Procris and Cephalus, by Turner. L'Aurore et Céphale, painted by P. Guérin, 1810, engraved by F. Forster, 1821.

=125. _Textual._ Cimmerian= country: a fabulous land in the far west, near Hades; or, perhaps, in the north, for the people dwell by the ocean that is never visited by sunlight (Odyssey, 11, 14-19). Other sons of Somnus are =Icelus=, who personates birds, beasts, and serpents, and =Phantasus=, who assumes the forms of rocks, streams, and other inanimate things.

The accompanying table will indicate the connections and descendants of Aurora.

=_Interpretative._= According to one account, =Ceyx= and =Halcyone=, by likening their wedded happiness to that of Jupiter and Juno, incurred the displeasure of the gods. The myth springs from observation of the habits of the Halcyone-bird, which nests on the strand and is frequently bereft of its young by the winter waves. The comparison with the glory of Jupiter and Juno is suggested by the splendid iris hues of the birds. Halcyone days have become proverbial as seasons of calm. =Æolus I=, the son of Hellen, is here identified with =Æolus III=, the king of the winds. According to Diodorus, the latter is a descendant, in the fifth generation, of the former. (See Genealogical Table I.)

_=Illustrative.=_ Chaucer, The Dethe of Blaunche; E. W. Gosse, Alcyone (a sonnet in dialogue); F. Tennyson, Halcyone; Edith M. Thomas, The Kingfisher; Margaret J. Preston, Alcyone. =Morpheus=: see Milton, Il Penseroso; Pope, Ode on St. Cecilia's Day.

=126-127. _Interpretative._ Tithonus= may be the day in its ever-recurring circuit of morning freshness, noon heat, final withering and decay (Preller); or the gray glimmer of the heavens overspread by the first ruddy flush of morning (Welcker); or, as a solar myth, the sun in his setting and waning,--_Tithonus_ meaning, by derivation, the illuminator (Max Müller). The sleep of Tithonus in his ocean-bed, and his transformation into a grasshopper, would then typify the presumable weariness and weakness of the sun at night.

=_Illustrative._= Spenser, Epithalamion; Faerie Queene, 1, 11, 51.

=128. _Textual._ Mysia=: province of Asia Minor, south of the Propontis, or Sea of Marmora. There is some doubt about the identification of the existing statue with that described by the ancients, and the mysterious sounds are still more doubtful. Yet there is not wanting modern testimony to their being still audible. It has been suggested that sounds produced by confined air making its escape from crevices or caverns in the rocks may have given some ground for the story. Sir Gardner Wilkinson, a traveler of the highest authority, examined the statue itself, and discovered that it was hollow, and that "in the lap of the statue is a stone, which, on being struck, emits a metallic sound that might still be made use of to deceive a visitor who was predisposed to believe its powers."

TABLE H. THE ANCIENT RACE OF LUMINARIES AND WINDS

=Hyperion= ==Thea= +-- Helios | =Perseïs | +-- Æetes | | =Hecate | | +-- Medea | | +-- Absyrtus | +-- Circe +-- Selene (Diana) | =Endymion +-- =Eos (Aurora)= =Astræus +-- Zephyrus W. Winds +-- Boreas N. " +-- Notus S. " +-- Eurus E. " ==Cephalus= +-- Phosphor (Morning Star) +-- =Ceyx= ==Halcyone= ==Tithonus= +-- =Memnon=

Hermes =Herse +-- =Cephalus= ==Eos (Aurora)= +-- Phosphor (Morning Star) (see above)

Æolus I +-- =Halcyone= ==Ceyx=

=_Interpretative._ Memnon= is generally represented as of dark features, lighted with the animation of glorious youth. He is king of the mythical Æthiopians who lived in the land of gloaming, where east and west met, and whose name signifies "dark splendor." His birth in this borderland of light and darkness signifies either his existence as king of an eastern land or his identity with the young sun, and strengthens the theory according to which his father Tithonus is the gray glimmer of the morning heavens. The flocks of birds have been explained as the glowing clouds that meet in battle over the body of the dead sun.

=_Illustrative._= Milton, Il Penseroso; Drummond, Summons to Love, "Rouse Memnon's mother from her Tithon's bed"; Akenside, Pleasures of the Imagination (analogy between Memnonian music and spiritual appreciation of truth); Landor, Miscellaneous Poems, 59, "Exposed and lonely genius stands, Like Memnon in the Egyptian sands," etc.

=_In Art._= Fig. 101, from a vase in the Louvre.

=129-130. _Textual._ Doric pillar=: the three styles of pillars in Greek architecture were Dorian, Ionic, Corinthian (see English Dictionary). =Trinacria=: Sicily, from its _three promontories_. =Ægon= and =Daphnis=: idyllic names of Sicilian shepherds (see Idyls of Theocritus and Virgil's Eclogues). =Naïs=: a water-nymph. For Cyclops, Galatea, Silenus, Fauns, Arethusa, see Index. Compare, with the conception of Stedman's poem, Wordsworth's Power of Music.

=_Illustrative._= Ben Jonson, =Pan's= anniversary; Milton, Paradise Lost, 4. 266, 707; Paradise Regained, 2, 190; Comus, 176, 268; Pope, Autumn, 81; Windsor Forest, 37, 183; Summer, 50; Dunciad, 3, 110; Akenside, Pleasures of Imagination, "Fair Tempe! haunt beloved of sylvan Powers," etc.; On Leaving Holland, 1, 2. =_Poems_=: Fletcher, Song of the Priest of Pan, and Song of Pan (in The Faithful Shepherdess); Landor, Pan and Pitys, "Pan led me to a wood the other day," etc.; Landor, Cupid and Pan; R. Buchanan, Pan; Browning, Pan and Luna; Swinburne, Pan and Thalassius; Hon. Roden Noël, Pan, in the Modern Faust. Of course Mrs. Browning's Dead Pan cannot be appreciated unless read as a whole; nor Schiller's Gods of Greece.

=131. Fauns.= Milton, Paradise Lost, 4, 708; 10. 573, 597; 11. 472, 788; Paradise Regained, 2, 257; Mrs. Browning, Flush or Faunus (sonnet). =Dryads=: Pope, Moral Essays, 4, 94; Winter, 12; Collins, The Passions; Keats, Nightingale, Psyche. =Satyrs=: Milton, Lycidas; Dryden, Mrs. Anne Killigrew, 6; Hawthorne, Marble Faun.

=_In Art._ Fauns= (sculpture): The Barberini Faun (Munich); the Drunken Faun, Sleeping Faun, Faun and Bacchus, and Dancing Faun (National Museum, Naples); the Dancing Faun (Lateran, Rome); the so-called Faun of Praxiteles or Marble Faun (Fig. 106 in text--a Satyr--best copy in the Capitoline, Rome). =Pan= and =Apollo=: Græco-Roman sculpture (Museum, Naples). =Pan=: Fig. 102, in text; and Fig. 103, from an original perhaps of the School of Scopas or Praxiteles (Florence). Silenus and Bacchus (Glyptothek, Munich). =Nymphs= (pictures): Bouguereau, Nymphs and Satyr, and Nymphs; Burne-Jones, Nymphs; Giorgione, Nymphs pursued by a Satyr. =Satyrs=: Michelangelo (picture) (Uffizi, Florence), Mask of a Satyr; Rubens, Satyrs (Munich); Satyrs (sculpture), relief from theater of Dionysus; Satyr playing a flute (Vatican); and Figs. 103, 104, and 106-108 in the text.

=132-133. _Textual._ Cephissus=: four rivers in Phocis, Attica, and Argolis bear this name. The most famous runs near Athens.

=_Illustrative._ Echo=: Chaucer, Romaunt of the Rose, 1468 _et seq._; Spenser, Prothalamion; Milton, Comus, 237; Collins, The Passions. =_Poems_=: L. Morris (Epic of Hades), Narcissus; Goldsmith, On a Beautiful Youth, etc.; Cowper, On an Ugly Fellow; Milton, Paradise Lost, 4, 449-470 (illus.); and Comus. =_In Art_=: Narcissus (sculpture), and Fig. 109, in text (Museum, Naples).

=137. Dryope= (poem), by W. S. Landor.

=138. Rh[oe]cus.= Poems by Landor, The Hamadryad; Acon and Rhodope.

=139. Pomona.= Phillips, a poem on Cider. See Index. =_In Art_=: the painting by J. E. Millais.

=_Interpretative._= The various guises and transformations of Vertumnus signify the succession of the seasons and the changing characteristics of each. The name itself implies _turning_, or _change_.

=140. _Textual._= In order to understand the story of Ibycus, it is necessary to remember, first, that the theaters of the ancients were immense fabrics, capable of containing from ten to thirty thousand spectators, and as they were used only on festal occasions and admission was free to all, they were usually filled. They were without roofs and open to the sky, and performances were in the daytime. Secondly, that the appalling representation of the Furies is not exaggerated in the story. It is fabled that Æschylus, the tragic poet, having on one occasion represented the Furies in a chorus of fifty performers, the terror of the spectators was such that many fainted and were thrown into convulsions, and the magistrates forbade a like representation for the future (Pollux, 4, 110). Usually the chorus in a single tragedy consisted of only fifteen performers.

=_Illustrative._= On the =Furies= see =C. 49=. On =Ibycus= see translation of Schiller's Cranes of Ibycus, by E. A. Bowring.

=141. _Textual._= The adventures of the water-divinities turn largely on the idea of metamorphosis, which would readily be suggested to the imaginative mind by contemplation of the ever-changing aspect of fountain, stream, lake, or ocean. For genealogies of water-deities, see Table C.

=_Interpretative._= The Cyclops, =Polyphemus=, does not possess much in common with Steropes, Brontes, and Arges, the offspring of Uranus and Gæa, save his one eye and his monstrous size. The sons of Gæa are personifications of thunder and lightning; Polyphemus is the heavy vapor that rolls its clouds along the hillside. The clouds are the sheep that he pastures; the sun glowering through the vapor is his single eye (Cox). More probably he is a mere giant of folklore.

=_Illustrative._= John Gay, Song of Polypheme (in Acis and Galatea); A. Dobson, A Tale of Polypheme; R. Buchanan, Polypheme's Passion; Shelley, The Cyclops of Euripides; Translations of Theocritus by Mrs. Browning and by Calverley; J. S. Blackie, Galatea; B. W. Procter, The Death of Acis. See also on the =Cyclops=, Shakespeare, Titus Andronicus, IV, iii; Hamlet, II, ii.

=_In Art._= Fig. 112, text; Carracci's frescoes in the Farnese Palace, Rome, of Polyphemus, Acis and Galatea; Claude Lorrain's painting, Evening, Acis and Galatea; Raphael's Triumph of Galatea.

=142. _Textual._= For descent of Glaucus, see Tables G and I. For Scylla's descent, see Table C. See Keats, Endymion, Bk. 3.

=_Interpretative._= Glaucus is explained by some as the calm gleaming sea; by others, as the angry sea that reflects the lowering heavens (see Roscher, p. 1690). Scylla is a personification of treacherous currents and shallows among jagged cliffs and hidden rocks.

=144.= For genealogy of Ino, see Table E. "Leucothea waked, and with fresh dews embalmed The Earth" (Milton, Paradise Lost, 11, 135).

=145. Cyrene= was sister to Daphne. Honey must first have been known as a wild product, the bees building their structures in hollow trees, or holes in the rocks, or any similar cavity that chance offered. Thus occasionally the carcass of a dead animal would be occupied by the bees for that purpose. It was no doubt from some such incident that the superstition arose that bees were engendered by the decaying flesh of the animal. Virgil assigns to Proteus the isle of Carpathus, between Crete and Rhodes; Homer, the isle of Pharus, near the river Nile.

=_Illustrative._= See =C. 50=. Proteus, a poem by R. Buchanan. On =Aristæus=, Cowper's Task, comparison of the ice-palace of Empress Anne of Russia with Cyrene's palace. Milton probably thought of Cyrene in describing Sabrina (Comus). He calls Proteus "the Carpathian Wizard."

=146-147. _Textual._ Acheloüs=: the largest river in Greece, rose in Mount Lacmon, flowed between Acarnania and Ætolia, and emptied into the Ionian Sea. It was honored over all Greece. =Calydon=: a city of Ætolia, famed for the Calydonian Hunt. =Parthenope=, see =238. Ligea= (Ligeia): the _shrill-sounding maiden_; here a Siren; sometimes a Dryad.

=_Interpretative._= Even among the ancients such stories as this were explained on a physical basis: the river Acheloüs flows through the realm of Dejanira, hence Acheloüs loves Dejanira. When the river winds it is a snake, when it roars it is a bull, when it overflows its banks it puts forth new horns. Hercules is supposed to have regulated the course of the stream by confining it within a new and suitable channel. At the same time the old channel, redeemed from the stream, subjected to cultivation, and blossoming with flowers, might well be called a _horn of plenty_. There is another account of the origin of the Cornucopia. Jupiter at his birth was committed by his mother Rhea to the care of the daughters of Melisseus, a Cretan king. They fed the infant deity with the milk of the goat Amalthea. Jupiter, breaking off one of the horns of the goat, gave it to his nurses, and endowed it with the power of becoming filled with whatever the possessor might wish.

=148.= (5)

TABLE I. THE RACE OF IAPETUS, DEUCALION, ATLAS, AND HELLEN

=Uranus= =Gæa +-- =Iapetus= +-- =Epimethius= | ==Pandora= | +-- =Pyrrha= | =Deucalion | +-- =Hellen= | +-- =Æolus I= | | +-- Calyce | | | +-- =Endymion= | | | +-- Eurycyde | | | | +-- Eleüs | | | | +-- =Augeas= | | | +-- =Ætolus= | | | +-- Calydon | | | | +-- Epicaste | | | | =Agenor | | | | +-- Demonice | | | | | =Mars | | | | | +-- Thestius | | | | | +-- Hypermnestra | | | | | | =Oïcles | | | | | | +-- =Amphiaraüs= | | | | | | ==Eriphyle= | | | | | | +-- =Alcmæon= | | | | | | | =Arsinoë | | | | | | +--Amphilochus | | | | | +-- =Althæa= | | | | | | ==[OE]neus= | | | | | | +-- =Meleager= | | | | | | +-- =Dejanira= | | | | | | =Hercules | | | | | | +-- Hyllus | | | | | +-- =Leda= | | | | | | ==Tyndareus= | | | | | | +-- =Castor= | | | | | | +-- =Clytemnestra= | | | | | | ==Agamemnon= | | | | | | =Jove | | | | | | +-- =Pollux= | | | | | | +-- =Helen= | | | | | | =Paris | | | | | +-- Plexippus | | | | | +-- Toxeus (?) | | | | +-- Porthaon | | | | +-- Agrius | | | | | +-- Melanippus | | | | | +-- Thersites | | | | +-- =[OE]neus= | | | | =Perib[oe]a | | | | +-- =Tydeus= | | | | +-- =Diomedes= | | | | ==Althæa= | | | | +-- =Meleager= | | | | | (see above) | | | | +-- =Dejanira= | | | | (see above) | | | +-- Pleuron | | | +-- Agenor | | | =Epicaste | | | +-- Demonice (see above) | | | +-- Porthaon (see above) | | +-- =Alcyone= | | | ==Ceyx= | | +-- Canace | | | =Neptune | | | +-- Al[oe]us | | | =Iphimedia | | | +-- =Otus= | | | +-- =Ephialtes= | | +-- Perieres | | | +-- Icarius | | | | +-- =Penelope= | | | | ==Ulysses= | | | | +-- =Telemachus= | | | +-- =Tyndareus= | | | ==Leda= | | | +-- =Castor= (see above) | | | +-- =Clytemnestra= (see above) | | +-- Mimas | | | +-- Hippotes | | | +-- Æolus II | | | +-- Arne | | | =Neptune | | | +-- =Æolus III= | | | | (King of the Winds) | | | +-- 6 sons | | | +-- 6 daughters | | +-- Magnes | | | +-- Dictys | | | +-- Polydectes | | +-- Deïon | | | +-- =Cephalus= | | | | =Procris | | | | +-- Arcesius | | | | +-- Laërtes | | | | +-- =Ulysses= | | | | ==Penelope= | | | | +-- =Telemachus= (see above) | | | +-- Actor | | | +-- Men[oe]tius | | | +-- =Patroclus= | | +-- =Athamas= | | | =Nephele | | | +-- =Helle= | | | +-- =Phryxus= | | | =Ino | | | +-- =Melicertes= | | | =Themisto | | | +-- Sch[oe]neus of B[oe]tia | | | +-- =Atalanta= | | | =Hippomenes | | +-- =Sisyphus= | | | ==Merope= | | | +-- =Glaucus= | | | +-- =Bellerophon= | | | +-- Hippolochus | | | | +-- Glaucus (Iliad, 6, 155) | | | +-- Laodamia | | | =Jove | | | +-- =Sarpedon= | | +-- Salmoneus | | | +-- Tyro | | | =Neptune | | | +-- Neleus | | | | +-- =Nestor= | | | | | +-- Antilochus | | | | +-- Pero | | | | ==Bias= | | | | +-- Talaüs | | | | +-- =Adrastus= | | | | +-- =Eriphyle= | | | | ==Amphiaraüs= | | | | +-- =Alcmæon= (see above) | | | | +-- Amphilochus | | | | (see above) | | | +-- =Pelias= | | | +-- Evadne | | | +-- Acastus | | | | +-- =Laodamia= | | | | =Protesilaüs | | | +-- =Alcestis= | | | ==Admetus= | | | =Cretheus | | | +-- Pheres | | | | +-- =Admetus= | | | | ==Alcestis= | | | +-- Æson | | | | +-- =Jason= | | | +-- Amythaon | | | +-- =Bias= | | | | =Pero | | | | +-- Talaüs (see above) | | | +-- =Melampus= (the Prophet) | | | +-- Antiphates | | | +-- Oïcles | | | =Hypermnestra | | | +-- =Amphiaraüs= | | | (see above) | | +-- Cretheus | | =Tyro | | +-- Pheres (see above) | | +-- Æson (see above) | | +-- Amythaon (see above) | +-- Xuthus | | +-- Diomede | | +-- Achæus | | +-- Ion | +-- Dorus | +-- Tectamus +-- Prometheus | =Clymene | +-- Deucalion | ==Pyrrha= | +-- =Hellen= (see above) +-- Men[oe]tius +-- =Atlas= =Pleione +-- =Merope= | ==Sisyphus= | +-- =Glaucus= (see above) +-- Sterope II | =Mars | +-- =[OE]nomaüs= | +-- =Hippodamia= | =Pelops | +-- =Atreus= | | =Aërope | | +-- =Agamemnon= | | | ==Clytemnestra= | | +-- =Menelaüs= | | =Helen | +-- Thyestes | | +-- Ægisthus | +-- Pittheus | +-- Æthra | +-- =Theseus= +-- Electra | =Jove | +-- =Dardanus= | +-- Ilus I | +-- Erichthonius | +-- Tros | +-- Ilus II | +-- =Laomedon= | +-- =Priam= +-- The other =Pleiades= =Æthra +-- =The Hyades= =Hesperis +-- =The Hesperides= =Sterope I +-- =Maia= =Jove +-- Mercury

_=Illustrative.=_ The name _Amalthea_ is given also to the mother of Bacchus. It is thus used by Milton, Paradise Lost, 4, 275:

That Nyseian isle, Girt with the river Triton, where old Cham, Whom Gentiles Ammon call and Libyan Jove, Hid Amalthea, and her florid son, Young Bacchus, from his stepdame Rhea's eye.

See also Milton, Paradise Regained, 2, 356.

=148.= For the general genealogy of the race of Inachus, see Table D. For the general race of Iapetus, Deucalion, Hellen, Æolus, Ætolus, etc., see below, Table I (based in part on the table given in Roscher, article _Deukalion_). For the descendants of Agenor, see Table E. For the houses of Minos and of Labdacus, see Tables L and N. For the descendants of Belus (house of Danaüs), see Tables I and J; of Cecrops and Erechtheus, Table M.

(1) =The race of Inachus= | +--------------------------+----------------------+ | | | The descendants of Pelasgus, of Belus, of Agenor | | House of Danaüs Houses of Minos and Labdacus

(2) =The race of Deucalion= (Table G), and of his son, Hellen | The descendants of Æolus, of Dorus, of Xuthus, | | | (Achæans and Ionians) The descendants of Endymion, Perieres, Deïon, Sisyphus, Cretheus, Athamas

(3) =The descendants of Ætolus=, son of Endymion (Table K) | Houses of Porthaon and Thestius

(4) =The race of Cecrops= | The descendants of Erichthonius | House of Pandion and Ægeus

=149-154. _Textual._ Seriphus=: an island of the Ægean.

The House of Danaüs is as follows:

TABLE J. THE HOUSE OF DANAÜS

=Inachus= +-- Io =Jupiter +-- Epaphus +-- Libya =Poseidon (Neptune) +-- Agenor | +-- Cadmus | +-- Europa +-- Belus of Egypt +-- Ægyptus | +-- 49 other sons | +-- Lynceus | =Hypermnestra | +-- Abas | +-- Acrisius | +-- =Danaë= | =Jupiter | +-- =Perseus= | ==Andromeda= | +-- Perses | +-- Electryon | | +-- =Alcmene= | | =Jupiter | | +-- =Hercules= | | ==Amphitryon= | | +-- Iphicles | +-- Alcæus | +-- =Amphitryon= | ==Alcmene= | +-- Iphicles | (see above) +-- =Danaüs= | +-- Hypermnestra | | =Lynceus | | +-- Abas (see above) | +-- 49 other drs. +-- Cepheus =Cassiopea +-- =Andromeda= ==Perseus= +-- Perses (see above) +-- Electryon (see above) +-- Alcæus (see above)

=_Interpretative._= While =Danaüs= is, in fact, a native mythical hero of Argos, the story of his arrival from Egypt is probably an attempt to explain the influence of Egyptian civilization upon the Greeks. The name _Danaüs_ means _drought_, and may refer to the frequently dry condition of the soil of Argos. The fifty daughters of Danaüs would then be the nymphs of the many _springs_ which in season refresh the land of Argolis. Their suitors, the fifty sons of Ægyptus, would be the streams of Argolis that in the rainy months threaten to overflow their banks. But the springs by vanishing during the hot weather deprive the streams of water and consequently of life. That is to say, when the sources (Danaïds) choose to stop supplies, the heads of the streams (the fifty youths of Argolis) are cut off. The reference to Ægyptus and the sons of Ægyptus would indicate a reminiscence of the Nile and its tributaries, alternately overflowing and exhausted. The unsuccessful toil of the Danaïds in Tartarus may have been suggested by the sandy nature of the Argive soil, and the leaky nature of the springs, now high, now low. Or it may typify, simply, any incessant, fruitless labor. The name =Hypermnestra= signifies _constancy_ and _love_. =Danaë=, the daughter of Acrisius, has been regarded as the dry earth, which under the rains of the golden springtime bursts into verdure and bloom; or as the dark depths of the earth; or as the dawn, from which, shot through with the golden rays of heaven, the youthful Sun is born.[428] Advocates of the last theory would understand the voyage of Danaë and Perseus as the tossing of the sunbeams on the waters of the eastern horizon. The young Sun would next overcome the =Gray-women=, forms of the gloaming, and then slay with his sword of light the black cloud of the heavenly vault, the =Gorgon=, whose aspect is night and death.

The =Grææ= and the Gorgons may, with greater probability, be taken as personifications of the hidden horrors of the unknown night-enveloped ocean and the misty horizon whence storms come. In that case the Grææ will be the gray clouds, and their one tooth (or one eye) the harmless gleam of the lightning; the Gorgons will be the heavy thunderclouds, and their petrifying gaze the swift and fatal lightning flash.

But there are still others who find in the Gorgon =Medusa= the wan visage of the moon, empress of the night, slain by the splendor of morning. The sandals of Hermes have, accordingly, been explained as the morning breeze, or even as the chariot of the sun. The invisible helmet may be the clouds under which the sun disappears. Compare the cloak of darkness in the Three Daughters of King O'Hara; and the Sword of Sharpness in the Weaver's Son and the Giant of White Hill (Curtin, Myths of Ireland).

=Andromeda= is variously deciphered: the tender dawn, which a storm-cloud would obscure and devour; the moon, which darkness, as a dragon, threatens to swallow; or some historic character that has passed into myth. Compare the contests of Perseus and the Dragon, Apollo and Pytho, Hercules and the Serpents, Cadmus and the Dragon of Mars, St. George and the Dragon, Siegfried and the Worm (Fafnir). For a Gaelic Andromeda and Perseus, see The Thirteenth Son of the King of Erin (Curtin, Myths of Ireland).

Perseus' flight to the =Gardens of the Hesperides= suggests, naturally, the circuit of the sun toward the flushing western horizon; and, of course, he would here behold the giant =Atlas=, who, stationed where heaven and earth meet, sustains upon his shoulders the celestial vault.

The =Doom of Acrisius= reminds one of that of Hyacinthus. The quoit suggests the rays of the sun, and the name _Acrisius_ may be construed to mean the "confused or gloomy heavens" (Roscher, Preller, Müller, etc.).

=_Illustrative._= "The starred Æthiope queen": Cassiopea (Cassiepea, or Cassiope) became a constellation. The sea-nymphs, however, had her placed in a part of the heavens near the pole, where she is half the time held with her head downward to teach her humility.

=Danaë.= Tennyson, Princess, "Now lies the Earth all Danaë to the stars, And all thy heart lies open unto me." Translations of Simonides' Lament of Danaë, by W. C. Bryant and by J. H. Frere. =Danaïd=: Chaucer, Legende of Good Women, 2561 (Hypermnestra and Lynceus).

=Gorgons= and =Medusa=. Spenser, Epithalamion, "And stand astonished like to those which read Medusa's mazeful head"; Milton, Paradise Lost, 2. 611, 628; Comus (on Ægis and Gorgon); Drummond, The Statue of Medusa; Gray, Hymn to Adversity; Armstrong, The Art of Preserving Health; D. G. Rossetti, Aspecta Medusa; L. Morris, in The Epic of Hades; Thomas Gordon Hake, The Infant Medusa (a sonnet); E. Lee-Hamilton, The New Medusa; Lady Charlotte Elliot, Medusa.

=Andromeda.= Milton, Paradise Lost, 3, 559 (the constellation); L. Morris in The Epic of Hades; W. Morris, Doom of King Acrisius; E. Dowden, Andromeda (The Heroines).

=Atlas.= Shakespeare, 3 Henry VI, 5, 1; Milton, Paradise Lost, 4, 987; 11, 402, comparison of Satan and Atlas.

=_In Art._= Fig. 116, in text: vase in the Hermitage, St. Petersburg. Titian's painting, Danaë and the Shower of Gold; Correggio's Danaë. Ancient sculpture: a Danaïd in the Vatican; the Danaïds on an altar in the Vatican (Fig. 115, in text).

=Perseus and Andromeda.= Figs. 119-121, and opp. p. 212, in text; painting by Rubens (Berlin). Sculpture: Benvenuto Cellini's Perseus (Loggia de' Lanzi, Florence), and Perseus saving Andromeda; Canova's Perseus (Vatican).

=Medusa.= Græco-Roman sculpture: Head of Dying Medusa (Villa Ludovisi, Rome); the beautiful Medusa Rondanini in the Glyptothek, Munich (Figs. 117 and 118, text); numerous illustrations of abhorrent Gorgons in Roscher, p. 1707 _et seq._, from vases, seals, marbles, etc.

=_Modern Painting._= Leonardo da Vinci, Head of Medusa.

=155. _Textual._= The descent of Bellerophon is as follows. (See also Table I.)

Deucalion = Pyrrha | Hellen | Æolus I Atlas | | Sisyphus = Merope (Pleiad) | Glaucus | Bellerophon

=Lycia=: in Asia Minor. The fountain =Hippocrene=, on the Muses' mountain, Helicon, was opened by a kick from the hoof of Pegasus. This horse belongs to the Muses, and has from time immemorial been ridden by the poets. From the story of Bellerophon being unconsciously the bearer of his own death-warrant, the expression "=Bellerophontic letters=" arose, to describe any species of communication which a person is made the bearer of, containing matter prejudicial to himself. =Aleian field=: a district in Cilicia (Asia Minor).

=_Interpretative._ Bellerophon= is either "he who appears in the clouds," or "he who slays the cloudy monster." In either sense we have another sun-myth and sun-hero. He is the son of Glaucus, who, whether he be descended from Sisyphus or from Neptune, is undoubtedly a sea-god. His horse, sprung from Medusa, the thundercloud, when she falls under the sword of the sun, is =Pegasus=, the rain-cloud. In his contest with the =Chimæra= we have a repetition of the combat of Perseus and the sea monster. Bellerophon is a heavenly knight errant who slays the powers of storm and darkness. The earth, struck by his horse's hoof, bubbles into springs (Rapp in Roscher, and Max Müller). At the end of the day, falling from heaven, this knight of the sun walks in melancholy the pale fields of the twilight.

=_Illustrative._= Wm. Morris, Bellerophon in Argos and in Lycia (Earthly Paradise); Longfellow, Pegasus in Pound; Bowring's translation of Schiller's Pegasus in Harness. Milton (=Bellerophon and Pegasus=), Paradise Lost, 7, 1; Spenser, "Then whoso will with virtuous wing assay To mount to heaven, on Pegasus must ride, And with sweet Poet's verse be glorified"; also Faerie Queene, 1, 9, 21; Shakespeare, Taming of the Shrew, IV, iv; 1 Henry IV, IV, i; Henry V, III, vii; Pope, Essay on Criticism, 150; Dunciad, 3, 162; Burns, To John Taylor; Young's Night Thoughts, Vol. 2 (on Bellerophontic letters). =Hippocrene=: Keats, To a Nightingale.

=_In Art._= Bellerophon and Pegasus, vase picture (Monuments inédits, etc., Rome and Paris, 1839-1874); ancient relief, Fig. 122, in text.

=156-162.= For genealogy of Hercules, see Table J. =Rhadamanthus=: brother of Minos. (See Index.) =Thespiæ= and =Orchomenos=: towns of B[oe]otia. =Nemea=: in Argolis, near Mycenæ. =Stymphalian= lake: in Arcadia.

=Pillars of Hercules.= The chosen device of Charles V of Germany represented the Pillars of Hercules entwined by a scroll that bore his motto, "Plus Ultra" (still farther). This device, imprinted upon the German dollar, has been adopted as the sign of the American dollar ($). _Dollar_, by the way, means _coin of the_ _valley_,--German _Thal_. The silver of the first dollars came from Joachimsthal in Bohemia, about 1518. =Hesperides=: the western sky at sunset. The apples may have been suggested by stories of the oranges of Spain. The =Cacus= myth is thoroughly latinized, but of Greek origin. The =Aventine=: one of the hills of Rome. =Colchis=: in Asia, east of the Euxine and south of Caucasus. =Mysia=: province of Asia Minor, north of Lydia. The river =Phasis= flows through Colchis into the Euxine. For genealogy of =Laomedon=, see Table O (5). =Pylos=: it is doubtful what city is intended. There were two such towns in Elis, and one in Messenia. The word means _gate_ (see Iliad, 5, 397), and in the case of Hercules there may be some reference to his journey to the gate or _Pylos_ of Hades. For =Alcestis=, see =83=; for =Prometheus=, =15=; for the family of Dejanira, Table K. =Alcides=: _i.e._ Hercules, descendant of Alcæus. =[OE]chalia=: in Thessaly or in Eub[oe]a. =Mount= =[OE]ta=: in Thessaly. The =Pygmies=: a nation of dwarfs, so called from a Greek word meaning the cubit, or measure of about thirteen inches, which was said to be the height of these people. They lived near the sources of the Nile, or, according to others, in India. Homer tells us that the cranes used to migrate every winter to the Pygmies' country, where, attacking the cornfields, they precipitated war. H. M. Stanley, in his last African expedition, discovered a race of diminutive men that correspond fairly in appearance with those mentioned by Homer. The =Cercopes=: the subject of a comic poem by Homer, and of numerous grotesque representations in Greek literature and sculpture.

=_Interpretative._= All myths of the sun represent that luminary as struggling against and overcoming monsters, or performing other laborious tasks in obedience to the orders of some tyrant of inferior spirit, but of legal authority. Since the life of Hercules is composed of such tasks, it is easy to class him with other sun-heroes. But to construe his whole history and all his feats as symbolic of the sun's progress through the heavens, beginning with the labors performed in his eastern home and ending with the capture of Cerberus in the underworld beyond the west, or to construe the subjects of the twelve labors as consciously recalling the twelve signs of the Zodiac is not only unwarranted, but absurd. To some extent Hercules is a sun-hero; to some extent his adventures are fabulous history; to a greater extent both he and his adventures are the product of generations of æsthetic, but primitive and fanciful, invention. The same statement holds true of nearly all the heroes and heroic deeds of mythology. As a matter of interest, it may be noted that the serpents that attacked Hercules in his cradle are explained as powers of darkness which the sun destroys, and the cattle that he tended, as the clouds of morning. His choice between pleasure and duty at the outset of his career enforces, of course, a lesson of conduct. His lion's skin may denote the tawny cloud which the sun trails behind him as he fights his way through the vapors that he overcomes (Cox). The slaughter of the Centaurs may be the dissipation of these vapors. His insanity may denote the raging heat of the sun at noonday. The Nemean lion may be a monster of cloud or darkness; the Hydra, a cloud that confines the kindly rains, or at times covers the heavens with numerous necks and heads of vapor. The Cerynean Stag may be a golden-tinted cloud that the sun chases; and the Cattle of the Augean stables, clouds that, refusing to burst in rain, consign the earth to drought and filth. The Erymanthian boar and the Cretan bull are probably varied forms of the powers of darkness; so also the Stamphalian (Stymphalian) birds and the giant Cacus. Finally, the scene of the hero's death is a "picture of a sunset in wild confusion, the multitude of clouds hurrying hither and thither, now hiding, now revealing the mangled body of the sun." In this way Cox, and other interpreters of myth, would explain the series. But while the explanations are entertaining and poetic, their very plausibility should suggest caution in accepting them. It is not safe to construe all the details of a mythical career in terms of any one theory. The more noble side of the character of Hercules presents itself to the moral understanding, as worthy of consideration and admiration. The dramatist Euripides has portrayed him as a great-hearted hero, high-spirited and jovial, rejoicing in the vigor of manhood, comforting the downcast, wrestling with Death and overcoming him, restoring happiness where sorrow had obtained. No grander conception of manliness has in modern times found expression in poetry than that of the Hercules in Browning's transcript of Euripides, Balaustion's Adventure.

=_Illustrative._= Lang's translation of the Lityerses song (Theocritus, 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. See also _Andvari_

Al-çæ´us, 216, 453

Al-çes´tis, 106-110, 225, 282, 455; _C. 83_

Al-çi´d[=e][s+], 216; _C. 156-162_; genealogy, _149-154_, table J

Al-çin´o-us, 332-337

Alc-mæ´[)o]n, 268

Alc-me´n[=e], 64, 107, 214, 215, 328

Alcyoneus (al-si´o-n[=u]s), 7. See _Giants, Greek_

[.A]-le[-c]'t[=o], 54, 363

Aleian ([.a]-le´y[.a]n) field, 215; _C. 155_

Alexander. See _Paris_

[.A]-lex´is, a beautiful youth in Virgil's second Eclogue

Alfadur (äl´fä-d[=oo]r), 375, 395, 404. See _Odin_

[.A]-lo´[.a]-dæ, or [)A]l-o-[=i]'dæ. See _Aloeus_

Aloeus ([.a]-lo´[=u]s), or [.A]-lo´as, 93

Al-phe´n[)o]r, son of Niobe, 100

Alphesib[oe]us (al-fes-[)i]-be´us), an ideal singer in pastorals

Al-phe´us, 118, 119, 218; _C. 93_

Alps, 97

Al-thæ´a, 237, 238, 240, 241, 242, 275; _C. 168_, table K

Am-al-the´a, 5; _C. 146-147_

Amaryllis (am-[.a]-ril´is), a fair shepherdess of pastoral poetry (Theocritus, Virgil)

Am-[.a]-se´nus river, 364

[.A]-ma´ta, 363

Am´[.a]-thus, 126, 149, 182; _C. 100_

Am´[.a]-zons, and Hercules, 219; and Theseus, 258; at Troy, 307; C. _156-162_ (Illustr.), _176-181_ (Interpret.)

Ambrosia (am-bro´zh[)i]-a), 95; _C. 76_

Am´m[)o]n (Jupiter Ammon), temple and oracle of, 20; _C. 146-147_. See _Egyptian divinities_ (2)

A´mor. See _Cupid_

Am-ph[)i]-[.a]-ra´us, 239, 265, 268, 451; _C. 148_ (5)

Am-phil´o-[-c]hus, 268

Am-phi´[)o]n, 99, 100, 206, 451; myth of, 75-77; from Tennyson's Amphion, 76, 77; _C. 62_

Am-ph[)i]-tri´t[=e], the Nereïd, wife of Neptune, 55, 198, 454

Am-phit´ry-[)o]n, 216

Amphrysus (am-fri´sus) river, 105

Am-y-mo´n[=e], 170, 217; _C. 119-120_

Amyntas ([.a]-min´t[.a]s), a lovely boy in pastoral poetry. See _Virgil, Bucolics 3_

[.A]-nac´re-[)o]n, 453, 454

An-[.a]-dy-om´[)e]-n[=e] (_rising_ from the water), _C. 34_. See _Venus_

An-ax-[)a]r´e-t[=e], 195

An-çæ´us, 239

Ancestor worship in China, 437

An-[-c]hi´s[=e][s+], 125, 276, 280, 346-348, 353, 359, 360; _C. 190-194_ (5), _245-257_

An-çi´l[=e], _C. 28_

An-dræ´m[)o]n, 192

An-dro´[.g]e-us, 252

An-drom´[.a]-[-c]h[=e], 280, 291-293, 303, 313, 349; _C. 207_

An-drom´e-da, 169; and Perseus, 211-214, 215, 216; lines from Kingsley's Andromeda, 212; _C. 149-154_

Andvari (änd´vä-r[=e]), 401-405; as Alberich, 410-414, 419-428; _C. 282-283_

Angerbode (äng´[~e]r-bo´d[~e]), 387

An´s[=e][s+] (Æ´s[)i]r, Ä´sä-folk), 374, 376; _C. 268-281_

An-tæ´us, 170, 220

An-te´a, 214

An-te´n[)o]r, 288

An´t[='e]-r[)o]s, 35

An-thes-te´r[)i]-a, _C. 42, 110-112_

Anthology, Greek, translations of, _C. 298_

Anthropological method, 442

An-ti[=g]'o-n[=e], 263, 264, 266, 267; _C. 182-189_

An-til´o-[-c]hus, 179, 299

An-tin´o-us, 343

An-ti´o-p[=e], daughter of Asopus, 64, 328; myth of, 75-77; _C. 62_

An-ti´o-p[=e], wife of Theseus, 258, 259; _C. 174_, table M

An-to´r[=e][s+], 370

[.A]-n[=u]'bis. See _Egyptian divinities_ (2)

[.A]-pel´l[=e][s+], a Greek painter of the time of Alexander the Great. See _John Lyly's Alexander and Campaspe_

Apennines, 97

Aph-ro-di´t[=e] (foam-born). See _Venus_

A´pis, oracle of, _C. 308_. See _Egyptian divinities_ (1)

[.A]-pol´lo, Ph[oe]bus, and his lyre, 18; son of Latona, 19; meaning of names, 26; attributes, 26-29; among the Hyperboreans, the Delphians, his victory over Python, 26; the Pythian games, his oracles, patronage of music, etc., 27; favorite animals, 28; Shelley's Hymn of Apollo, 28; myths of, 91-117; the Pæan of victory, 92; victory over Tityus and the Aloadæ, 92, 93; A. and Hyacinthus, 93, 94; and Phaëthon, 94-98; sends a plague upon the Greeks before Troy, 98, 99; A. and Niobe, 99-103; and Psamathe and Linus, 103, 104; and Coronis and Æsculapius, 104; and the Cyclopes, 104; in exile, serves Admetus, 104-110; Lowell's Shepherd of King Admetus, 105, 106; serves Laomedon, 110; as a musician, Pan, Midas, Marsyas, 110-112; Shelley's Hymn of Pan, 111, 112; loves of A., Calliope, Cyrene, Daphne, 112-114; Lowell's lines upon Daphne, 114; Marpessa, 115, 116; quotations from Stephen Phillips' Marpessa, 115, 116; Clytie, 116, 117; quotation from Moore's Clytie, 117; A. and Orion, 122; and Mercury, 150, 151; and Neptune, 169; and Hercules, 216; and Daphnis, 223; in Trojan War, 283-285, 290, 296-304, 307, 308; Cassandra, 313; the Sibyl, 353, 361; interpretations of, 432, 434, 437, 440, 442, 445; _C. 30, 68, 72-73, 76-89, 109_

[.A]-pol-lo-do´rus, 455; references to, 75, 115, 122, 125, 160, 169, 177, 201, 207, 208, 214, 215, 230, 241, 242, 246, and footnotes _passim_

Ap-ol-lo´n[)i]-us (of Rhodes), 455; references to, 125, 193, 230, 242, 269; _C. 4_

Apuleius (ap-[=u]-le´yus), 457; references to, 128, 137; translation of, _C. 298_

Aquilo (ak´w[)i]-lo), 38

[.A]-rach´n[=e], myth of, 82-84; _C. 65-66_

Är-ca´di-a, 67, 110, 217, 218, 241, 265, 365, 366

Är´c[)a]s, son of Callisto, 67, 241; _C. 58_ and table D

[=A]-re-op´[.a]-gus, Mars' Hill, on which the highest Athenian tribunal held its meetings. See _St. Paul's address, Acts 17, 22_

A´r[=e][s+]. See _Mars_

[)A]r-e-th[=u]´sa, myth of, 117-120; Shelley's poem, 118-120; and Ceres, 162; _C. 93_

Är´[.g][=e][s+], _C. 4_

Är´[.g]ives, 308

Är´go, the, 223, 230, 233; _C. 163-167_

Är´go-lis, _C. 149-154_

Ar-go-nau´tic expedition, 39, 222, 230-233, 269, 348; quotation from Dyer's Fleece, 230, 231

Argonauts (är´go-nôts), the, 222, 230-233, 242; W. Morris' Life and Death of Jason, 232, 233; _C. 163-167_

Är´g[)o]s (city and district), 22, 23, 103, 169, 206, 207, 214, 217, 264, 265, 268, 315, 370, 452; _C. 64, 149-154_

Är´gus, builder of the Argo, 230

Är´gus (Pan-op´tes), 34; myth of Io, Mercury, and A., 65-67, 439; _C. 57_

Är´gus, Ulysses' dog, 341

[=A]-r[)i]-ad´n[=e], 152; myth of, 156, 252-258, 259, 270; _C. 172_, table L, _176-181_

[.A]-ri´[)o]n, identified with Jonah, 440; account of, 453, 454; _C. 298_

[.A]-ri´[)o]n, the horse, 170

[)A]r-is-tæ´us, 112, 121, 165; myth of, 202, 203; _C. 145_

[)A]r-is-toph´[.a]-n[=e][s+], 455

[)A]r´is-t[)o]tle, reference to, 241

Är´n[=e], 170

Är-sin´o-[=e], 104, 150

Är´te-mis. See _Diana_

A´run[s+], 371, 372

Är´y[.a]n germ-theory, 448

Är´y[.a]n tribes and modern descendants, 448, 462

Ä´sä-folk. See _Anses_

As-ca´n[)i]-us, _C. 190-194_ (5). See _Iulus_

As-cle-pi´[.a]-dæ (As-cle´pi-os), _C. 80_. See _Æsculapius_

As´cra, 453

As´gärd, 2, 374, 389-392, 396, 397

Asia, 68, 153, 252, 448

Äsk, 374

[.A]-so´pus, 73, 75; _C. 61_

As´pho-del, the meads of, 49, 120

As-s[)a]r´[.a]-cus, grandfather of Anchises, _C. 190-194_ (5)

As-syr´i-ans, the, _C. 34_

As-tär´t[=e], _C. 34, 59_

As-te´r[)i]-a, _C. 163-167_

As-træ´a, 15; _C. 18_

As-ty´[.a]-nax, 291-293, 303; _C. 190-194_ (5)

At-[.a]-lan´ta (the Arcadian), daughter of Iasius, in the Calydonian hunt, 237-241; selections from Swinburne's Atalanta in Calydon, 237-240; A. and Mars, 265; _C. 168_

At-[.a]-lan´ta (daughter of Sch[oe]neus of B[oe]otia), 139-141; extract from Landor's Hippomenes and Atalanta, 140, 141; cousin of Jason, 230; genealogy, _C. 103_ and table G, _148_ (5), table I

A´t[=e], 300

Ath´[.a]-m[)a]s, 202, 229; _C. 103_, table G, _148_ (2), (5), table I

[.A]-the´na or A-the´n[=e], 445; _C. 27_. See _Minerva_

Ath´ens, 23, 81, 82, 235, 246, 249, 250, 252, 258, 263, 308, 317, 452

A´th[)o]s, Mount, 96; _C. 76_

At-lan´tis, legend of, 52. See _Plato's Timæus_

At´l[.a]s, 6, 41; described, 57; his offspring, the Atlantides, 57; and Perseus, 211; and Hercules, 220; _C. 6_; genealogy, _148_ (5), table I, and _149-154_

Atli (ät´l[=e]). See _Attila_

Atmu (ät´m[=oo]). See _Egyptian divinities_ (1)

A´trax, 259

Atreus (a´tr[=oo]s), house of, 269, 275, 276; _C. 78, 190-194_ (2)

[.A]-tri´d[=e][s+], 98; _C. 77_

At´ro-p[)o]s, a Fate, 38

At´t[)i]-ca, 207, 243, 249, 256

At´t[)i]-la, Atli, Etzel, 404, 409; _C. 282-283_

Audhumbla (ou´th[=oo]m-bla), 373

Au-[.g]e´[.a]s, Au-[.g]e´[.a]n stables, 218; _C. 156-162_ (Interpret.)

Au-[.g]i´[.a]s. See _Augeas_

Au-gus´tan Age, 2, 456

Au-gus´tus, 61, 456

Au´lis, 280

Au´ra, 172, 173

Au-ro´ra, 39, 40, 43, 95, 123, 125, 148, 160, 172, 175, 176, 269; and Tithonus, 177-179; mother of Memnon, 179, 180; _C. 38_ (10), _123-124_, and table H

Au-ro´ra Bo-re-a´lis, 376

Aus´ter, 38

Australians, mental state of contemporary native, 441; myths among, 448

Au-ton´o-[=e], 89, 121, 156, 261

Av-[.a]-tär´. See _Hindu divinities_ (2)

Av´en-tine, Mount, 221; _C. 156-162_ (Textual)

[.A]-v[~e]r´nus, Lake, 354

[.A]-ves´ta, 463

Bab-y-lo´ni-a, 147

B[)a]c´[-c]h[.a]-n[.a]ls, 44, 154, 155; _C. 110-112_

B[.a]c-[-c]h[)a]n´t[=e][s+], 44, 153, 258; _C. 110-112_

Bac´[-c]hus (Dionysus), 20; descent and attributes, 44, 45; quotation from Dryden's Alexander's Feast, 45; worshipers of, 44; the Roman Liber, 59; his mother, Semele, 72; B. and Vulcan, 91; myths of, 152-158; his wanderings, 152, 153; Pentheus, 153-156; story of Acetes, 154, 155; lines from Edmund Gosse's Praise of Dionysus, 156, 157; choice of Midas, 157, 158; B. and Neptune, 169; Ariadne, 257, 258; interpretation of ritual, 445; _C. 42, 60, 110-112_

Balaustion (b[.a]-l[a:]s´chon). See _Browning's Balaustion's Adventure_, Index of Authors

B[a:]l´d[~e]r, 376, 460; death of, 387-393; extracts from M. Arnold's Balder Dead, 388-397; _C. 268-281, 282-283_

Balmung (bäl´m[)oo]ng), 409

Bards, 450, 458

Bas-s[)a]r´[)i]-d[=e][s+], _C. 42_

Bat´tus, a peasant who informed Apollo of Mercury's robbery of his cattle; or who, having promised secrecy to Mercury, told the whole story to Mercury disguised, and was petrified by the offended deity

Bau´çis, 77-80

Bear, Great and Little, 43, 96; myth of, 67, 68

Beauty and the Beast, analogy of incident, _C. 101-102_

Bel-l[)e]r´o-ph[)o]n, 230, 290, 298, 432; and the Chimæra, 214, 215; _C. 155_

Bel-lo´na, 61; _C. 54_

Be´lus, king of Tyre, 206, 207, 351; genealogy, _C. 57_, table D, _148_ (1), _149-154_. Compare the deity Baal

Belvedere (bel-v[='e]-d[=e]r´ or bel-v[='a]-d[=a]'r[=a]), the Apollo, _C. 30_

Berecyntia (b[)e]r-[)e]-sin´sh[)i]-a), _C. 41_. See _Cybele_

Berg-risar (b[)e]rG'r[=e]-sär), 376

B[)e]rne, Dietrich of, 409; _C. 282-283_

B[)e]r´o-[=e], 71

Bible, the Hebrew, 440

Bifrost (b[=e]f´r[)o]st), 374, 377, 389, 395

Bi´[)o]n, Lang's translation of his Lament for Adonis, 126-128; _C. 59, 298_

Biorn (b[+e]-ôrn´) of Scärd´sa, 459

Bi´t[)o]n, 80, 81; _C. 64_

B[oe]otia (be-o´sh[)i]-a), 139, 280, and _passim_

B[oe]otians (be-o´sh[)i]-ans), 170

Bo´na De´a, 61

Books of the Dead and of the Lower Hemisphere, 462

Bo-o´t[=e]s, 96; _C. 75_

B[=o]r, 373

Bo´re-as, 38, 350; _C. 38_ (9)

Bori (bo´r[=e]), 373

Bos´pho-rus (the heifer's ford), a Thracian strait, crossed by Io

Bragi (brä´[=g][=e]), 376

Bräh´ma and Bräh´m[.a]n-ism. See _Hindu divinities_ (2)

Brän´stock, 398-400, 405

Brazen Age, the, 15

Breidablick (br[=a]'d[.a]-blik or br[=i]t´ap-lik), the home of Balder

Briareus (bri´[.a]-r[=oo]s or bri-a´re-us), 354; _C. 4, 8_

Bri-se´is, 284; _C. 199_

Bro´mi-us, _C. 42_. See _Bacchus_

Bron´t[=e][s+], _C. 4_

Brunhild (br[)oo]n´h[)i]lt), 405-409; _C. 282-283_

Brünnhilde (brün-h[)i]l´d[~e]), in Wagner's Ring, 418-421, 424-430. See also _Brunhild_, _Brynhild_

Bru´tus, a mythical grandson of Æneas; fabled to have colonized the island called, after him, Britain

Brynhild (brün´h[)i]lt), 402-404; _C. 282-283_

Buddha (b[)oo]d´[~e]). Family name, Gautama; given names, Siddartha ("in whom wishes are fulfilled") and Buddha ("he who knows"). Born 628 B.C., son of the king of Kapilavastu, north of Oude, India; died in his eighty-fifth year. Founder of Buddhism, which, in opposition to the dead creed and forms of Brahmanism, taught: "(1) Existence is only pain or sorrow. (2) The cause of pain or sorrow is desire. (3) In Nirvana all pain and sorrow cease. (4) Nirvana is attainable by the 'noble path´ of virtuous self-discipline." _Nirvana_ is both a means and an end. As a means, it is the process of renunciation by which the love of life and self are extinguished; as an end, it is the heaven of the Buddhist, a negative bliss consisting in absorption of the soul into the Infinite. The soul is the _Karma_, the sum total of a man's deeds, good and evil,--his character, by which is determined his state of future existence. The Karma passes through various earthly existences in the process of renunciation described above. See _Edward Clodd's Childhood of Religions_, _John Caird's Oriental Religions_ (Humboldt Library), _Encyc. Brit._, _Sir Edwin Arnold's Light of Asia_

Budlung (b[)oo]d´l[)oo]ng), 404, 405

Bull, Jupiter as the, 69; _C. 59_

Bur´gun-dy, 405, 407

Bush´men, mental state of, 441

B[=u]-si´ris, an Egyptian despot, who sacrificed all strangers entering his realm, but was put to death by Hercules

B[=u]'t[=o], an Egyptian goddess, identified by the Greeks with Leto

Byrsa (b[~e]r´sa), 351

Ca´cus, myth of, 221; _C. 156-162_

Cad´mus, 17, 71, 206, 207; and the dragon, 87-90, 231; builds Thebes, 87, 89; marries Harmonia, 89; curse upon his family, 89, 90, 120, 153, 202, 229, 261, 265, 268; _C. 57_, table D, _59_, table E, _70_

Ca-d[=u]'çe-us, the, 34, 151

Ca-i´cus, 97; _C. 76_

Cal´a-is, 39, 230

Cal´[-c]h[.a]s, 281, 294, 311, 451

Cal-lim´[.a]-[-c]hus, _C. 298_

Cal-li´o-p[=e], the muse of epic poetry, 37; mother of Orpheus, 112, 165; _C. 38_ (4)

Cal-l[)i]r´rho-[=e]. See _Chrysaor_

Cal-lis´t[=e], _C. 32, 58_

Cal-lis´t[=o], 64, 237, 241; myth of, 67, 68; _C. 58_

Cal´p[=e], 219

Cal´y-d[)o]n, 203, 225, 237, 265, 275; _C. 146-147_

Cal-y-do´ni-an Boar, the, 206, 237

Cal-y-do´ni-an Hunt, the, 225, 237-240

Calypso (c[.a]-lip´so), 331; _C. 231-244_

C[.a]-me´næ (Antevorta, Postvorta, Carmenta, and Egeria). The name comes from the root of _carmen_, song of prophecy, 62

C[.a]-mil´la, 364, 371, 372; _C. 260_

Cam´pus Martius (mar´sh[)i]-us), _C. 28_

Capaneus (cap´[.a]-n[=u]s), 265, 266

Cap´[)i]-to-line Hill, 114

Capys (ca´pis), father of Anchises, _C. 190-194_ (5)

Ca´r[)i]-a, 125

Cär-men´ta, 62, 90; _C. 50-52_

Cär-ne´a, _C. 30_

Cär´p[.a]-th[)o]s, 203, 204; _C. 145_

Cär´thage, 350, 351

Cas-san´dra, 276, 313, 314, 451; _C. 190-194_ (5), _226_

Cas-s[)i]-o-pe´a, Cas-s[)i]-e-pe´a, or Cas-s[=i]'o-p[=e], 211; quotation from Milton's Il Penseroso, 211; _C. 149-154_

Cas-ta´l[)i]-a, 26, 87; _C. 30, 70, 76_

Cas´tor, 206, 230, 237, 242-245, 275, 289; _C. 190-194_ (3), (4)

C[.a]-tul´lus, 457; translations of his Peleus and Thetis, 253-258, 269-273; note and translations, _C. 299_; of poems LXI and LXII, _38_ (under _Hymen_); of poem LI, _107_

Cau´c[.a]-sus, 11, 97, 192; _C. 76_

Caÿster (ca-is´ter), 97; _C. 76_

Çe-bri´o-n[=e][s+], 298

Çe-cro´p[)i]-a, _C. 65-66_

Çe´crops, 17, 82, 207, 249; _C. 65-66, 176-181_ (Illustr.); genealogy, _148_ (4); _174_

Çe-da´l[)i]-[)o]n, 122

Çe-læ´n[=o], (1) a Pleiad; (2) a Harpy

Çe´le-us, 160, 161, 164

Celts, 448

Çen´taurs, the, 104, 259, 274; _C. 80, 156-162_ (Interpret.)

Çen-tim´[.a]-nus, _C. 4_

Çe´[)o]s, an island in the Ægean

Çeph´[.a]-lus, 40; and Procris, 172-175; father of Phosphor, 175; _C. 123-124, 190-194_ (4)

Çepheus (ç[=e]'f[=u]s), 211, 213

Çe-phis´sus, 26, 88, 188, 250; _C. 30, 70, 132-133_

Ç[~e]r´b[~e]r-us, 47, 135, 167, 355; and Hercules, 220; _C. 49, 156-162_ (Interpret.)

Ç[~e]r-co´p[=e][s+], 222; _C. 156-162_

Çe´r[=e][s+], 5; or Demeter, 19; attributes of, 43, 44; favorite animals, etc., 44; Eleusinian mysteries, 44, 165; the Roman, 59; and Psyche, 133; wanderings of, 152, 160-165; C. and Neptune, 170; Erysichthon, 191, 192; _C. 40, 59, 114-117_

Ç[)e]r-y-ne´an stag, 218; _C. 156-162_ (Interpret.)

Çes-tus, the, 295

Çe´t[=o], 57

Ceylon, 463

Ceyx (se´[)i]x), 175-177; _C. 125._ See _Halcyone_

[-C]ha´[)o]s, 3, 4; _C. 3_

[-C]ha´ris, youngest of the Charites, called also Aglaia (Aglaïa), wife of Vulcan

[-C]h[)a]r´[)i]-t[=e][s+]. See _Graces_

[-C]ha´r[)o]n, 47, 135, 354, 355, 377; _C. 44-46_

Charybdis ([-c]h[.a]-rib´dis), 255, 329, 330, 350; _C. 50-52_

[-C]h[)i]-mæ´ra, 214, 215, 354; _C. 155_

[-C]hi´[)o]s (Scio), 122, 149, 452; _C. 96, 107_

[-C]hi´r[)o]n, 104, 231, 269, 271, 274; _C. 10-15, 80, 199_

[-C]ho´rus, 196

Christ, 1, 181

[-C]hro´nus or [-C]hro´n[)o]s, 439; _C. 4_

Chrysaor ([-c]hr[=i]-sa´[)o]r or [-c]hr[)i]s´a-ôr), son of Poseidon; sprang with Pegasus from the head of Medusa; by Callirrhoë he was father of Geryones and Echidna. See Michael Field's _Callirrhoë_, a drama, 1884

Chryseïs ([-c]hri-se´is), 98, 283, 284; _C. 77_

Chryses ([-c]hri´s[=e][s+]), 98, 283, 284

Chrysothemis ([-c]hris-oth´e-mis), daughter of Agamemnon, 275; _C. 190-194_ (2)

Cic´e-ro, references to the works of, 104, 196

Ç[)i]-co´ni-ans, the, 318

Çi´lix, son of Agenor; brother of Cadmus and Ph[oe]nix; settled in Cilicia

Çim-me´ri-an, 176, 338; _C. 125_

Çim-me´ri-ans, the, 47, 328

Çin´y-r[.a]s, 126

Çir´ç[=e], 201, 318, 324-330; _C. 172, 231-244_

Cir´cus Max´i-mus, 60

Ç[)i]-thæ´r[)o]n, Mount, 75, 155, 261; _C. 62, 110-112_

Cla´r[)o]s, 175

Cle´o-bis, 80, 81; _C. 64_

Cle-om´e-n[=e][s+], a sculptor of about 200 B.C., _C. 35_

Cli´o, the muse of history, 37; _C. 38_ (4)

Clo´tho, a Fate, 38

Clymene (clim´[)e]-n[=e]), 94; _C. 76_

Cly-tem-nes´tra, 237, 242, 275, 314, 315; _C. 190-194_ (3), _228-230_

Clytië (cl[)i]sh´[)i]-[=e] or cl[=i]'t[)i]-[=e]), 116, 117; Thomas Moore's verses, Believe me, if all ..., 117; _C. 91_

Clytius (clish´[)i]-us), _C. 8_

Cnageus (na´j[=u]s), _C. 32_

Cnidos (ni´d[)o]s), 32, 126; _C. 35, 100_

Cnosus (n[=o]´sus) or Cnossus (n[)o]s´us). See _Gnossus_

C[)o][-c]'[.a]-lus, 247

Cocytus (co-si´tus), 47, 327, 354

C[oe]us (se´us), a Titan, 64; _C. 4_

Col´[-c]his, 222, 229, 231, 242; _C. 156-162_ (Textual)

Co-lo´nus, 263

Col´o-ph[)o]n, 452

Co´mus, in later mythology a god of festivity, drunkenness, and mirth. See _Milton's Masque of Comus_

Con-siv´i-us, 60

Con´sus, 59, 60, 88; _C. 50-52_

Co´ra (Ko´r[=e]). See _Proserpina_

Cor´inth, 32, 124, 169, 196, 214, 235, 252, 261, 453

Cor-nu-co´pi-a, 53, 204; _C. 146-147_

Cor[oe]bus (co-re´bus), 103

Co-ro´nis, 104. See _Æsculapius_

Cor-y-ban´t[=e][s+], references to, 14, 44; _C. 16_

Cor´y-d[)o]n, an ideal singer of pastoral poetry. _See Theocritus, Idyl 4_; _Virgil, Bucolics 7_

Cor´y-thus, _C. 221_

C[)o]s, an island off the coast of Caria

Cot´tus, _C. 4_

Cra´n[)o]n or Cran´n[)o]n, a town in the vale of Tempe, in Thessaly

Creation, Greek myths of, 3; Virgil's account of, 360; the Norse account of, 373, 374

Cre´[)o]n, 263, 266, 267; _C. 182-189_, table N

Cres-phon´t[=e][s+], 241, 242

Cres´s[)i]-da, _C. 196_

Cre´tan Bull, the, 218, 246; _C. 156-162_ (Interpret.)

Crete, Cre´ta, 53, 70, 71, 132, 201, 207, 242, 246, 249, 252, 256, 275, 286, 288, 348; _C. 59_

Cretheus (cre´th[=u]s), _C. 148_ (2), (5)

Cre´us, _C. 4_

Cre-[=u]´sa, mother of Ion, _C. 174_

Cre-[=u]´sa, wife of Æneas, 347; _C. 190-194_ (5)

Cre-[=u]´sa, wife of Jason, 235

Croc´[.a]-l[=e], 120

Cro´nus, 4, 5, 6, 8, 19; rule of, 5, 10; in the Fortunate Isles, 52; confounded with Chronos, 439; _C. 4_

C[=u]'mæ, 352

C[=u]-mæ´an Sibyl, 352-361

C[=u]'pid or C[=u]-pi´d[=o] (Eros), attributes of, 35, 36, 126; Edmund Gosse's Eros, 36; Lyly's Cupid and Campaspe, _C. 38_; in the story of Apollo and Daphne, 112, 113; C. and Psyche, 128-139, 457; extracts from Wm. Morris' Earthly Paradise, 131, 135; from Bridges' Eros and Psyche, 132; from Pater's Marius, 133; T. K. Hervey's Cupid and Psyche, 136, 137; Keats' Ode to Psyche, 137-139; in the story of Hero and Leander, 142-144; Pluto and Proserpine, 159; _C. 38_ (1), _101-102_

C[=u]-re´t[=e][s+], inhabitants of Crete, noisy worshipers of Jupiter; later identified with the Corybantes (worshipers of Cybele)

Cy´[.a]-n[=e] river, 160, 162; _C. 114-117_

Cy´[.a]-n[=e], a Sicilian nymph

Cybele (sib´e-l[=e]) or Cybebe (si-be´b[=e]), attributes and worship of, 44, 141; the Roman Magna Mater, 59; _C. 16, 41_. See also _Rhea_

Cyclic (sik´lik) Poets, the, 452

Çy-clo´p[=e][s+], Çy´cl[)o]ps, 4, 6, 7, 53, 122, 170, 185, 198-200, 332; and Apollo, 104; and Ulysses, 320-323; and Æneas, 349; _C. 4, 141_

Çy[-c]'nus. (1) Son of Apollo. With his mother, Thyri[.a], he leaped into lake Canope, where both were changed into swans. (2) Son of Poseidon, a king of Colonæ in Troas. He assisted the Trojans, but was killed by Achilles; changed into a swan. (3) Son of Ares, killed by Hercules; changed into a swan. (4) A friend of Phaëthon. While lamenting his friend's fate, Cycnus was changed by Apollo into a swan, and placed among the stars.

Çy-dip´p[=e] and her sons, 80, 81; quotation from Edmund Gosse's The Sons of Cydippe, 81; _C. 64_

Çyl-le´n[=e], Mount, 34, 150; _C. 109_

Cynosure (s[=i]'no-sh[=oo]r or s[)i]n´o-sh[=oo]r), the, _C. 58_

Çyn´th[)i]-a (Diana), 31, 118, 125, 139; _C. 32_

Çyn´thus, Mount, in Delos, _C. 32, 78_

Çyp´ri-an, the, 85; _C. 68_

Çyp´ri-an Lays, 452

Çy´pris (Venus), 68, 69, 126, 127, 133, 140; _C. 34, 59_

Çy´prus, island of, 31, 32, 140, 145, 314, 432; _C. 34_

Çyp´se-lus, 241

Çy-re´n[=e], 112, 202, 203; _C. 145_

Çy-the´ra, island of, 31, 32; _C. 100_

Çyth-[~e]r-e´a (Venus), 127, 128, 134; _C. 34, 100_

Çyz´[)i]-cus, King of Cyzicus on the Propontis. Received the Argonauts, but by mistake was slain by Hercules or Jason.

Dædalus (d[)e]d´[.a]-lus or d[=e]'d[.a]-lus) and Icarus, 246-248; _C. 85-86, 173_

Da´g[)o]n, 432

Dam[oe]tas (d[.a]-me´t[.a]s), a herdsman in pastoral poetry. See _Virgil, Bucolics 3_

Da´m[)o]n, an ideal singer of love in pastorals. See _Virgil, Bucolics 8_

Dan´a-[.a]ns or Dan´a-[=i], 98, 99

Dan´a-[=e], 64; myth of, 208, 213; woven by Arachne, 84; Lamentation of Danaë, 454; _C. 149-154_

Dan´a-[)i]ds or Da-na´[)i]-d[=e][s+], 207; _C. 149-154_

Dan´a-us, daughters of, 166, 170; house of, 206-228; _C. 57_, table D, _148_ (1) _149-154_

Daphne (daf´n[=e]), myth of, 112-114; explanations of myth, 437; _C. 89_

Daph-ne-pho´r[)i]-a, _C. 30_

Daphnis (daf´nis), 185, 222, 223-225, 240; lines from M. Arnold's Thyrsis, 224, 225; _C. 129-130, 156-162_

Där´d[.a]-nus, 124, 348; _C. 190-194_ (5)

Darkness, 3, 4

Daughter of the Skies, story of; analogy of incident, _C. 101-102_

Dau´lis, 249, 250

Dawn, goddess of, _C. 36_. See _Aurora_

Day, 4

Death (Than´a-tos), 54, 298; Hercules' struggle with, 107-110; _C. 49_

De-[)i]d-[.a]-mi´a. (1) Also called Laodam[=i]'a, daughter of Bellerophon, and mother of Sarpedon. (2) Daughter of Lycomedes of Scyros, and mother of Pyrrhus by Achilles. (3) Also called Hippodam[=i]'a, wife of Pirithoüs, and daughter of Atrax

Deimos (d[=i]'m[)o]s), Dread, a son and attendant of Mars, 24

De´[)i]-[)o]n, _C. 123-124_; genealogy, _148_ (2), (5)

Deïphobus (de-if´o-bus), 280, 302; _C. 190-194_ (5)

De-j[.a]-ni´ra or Deianira (de-y[.a]-ni´ra), 203, 225, 227, 237, 275; _C. 146-147, 168_

De´l[)i]-a, a name for Diana of Delos

De´l[)o]s, 29, 247, 347; _C. 32_

Del´phi, 5, 113, 169, 262; oracle of, 27, 268, 315, 317, 442; center of the world, 42; _C. 30, 38_ (4), _89_

Del-phin´i-a, _C. 30_

Del-phy´n[=e], _C. 30_

Delusion of Gylfi ([=g]il´f[=e]), 459

De-me´ter, 263, 442; and Pelops, 434; and Springtide, 434; _C. 40_. See _Ceres_

Demigods and Heroes, age of, 16, 17; in the Theban and Trojan Wars, 17

De-mod´o-cus of Phæacia, 337, 450

Destinies. See _Fates_

Deterioration, theory of, 436-440

Deucalion (d[=u]-ca´l[)i]-[)o]n), with Pyrrha repeoples the world, 16; descendants of, 16, 206, 207, 229; interpretation of myth, 440; _C. 19-20, 148_ (2), (5)

Devas (d[=a]'v[.a][s+]). See _Hindu divinities_ (1)

Di´a, island of, 154, 254; old name for Naxos, _C. 110-112_

Di-[=a]'na, usually pronounced Di-[)a]n´a (Artemis), moon-goddess, 2, 432; daughter of Latona, 19, 29; meaning of names, 29; attributes, 29-31; identified with Selene, 29, 39, 117; her vengeance on Agamemnon, Orion, and Niobe, 30, 117, and _ad loc._; favorite animals, 31; Ben Jonson's Hymn to Cynthia (Diana), 31; among the Romans, 59; Lucina, 61; D. and Syrinx, 66; punishes Niobe, 99-103; myths of, 117-125; Tityus, Python, Daphne, Callisto, 117 and _ad loc._; [OE]neus, 117, 237; Alpheüs and Arethusa, 117-120; the fate of Actæon, 120-122; of Orion, 122, 123; the Pleiads, 123, 124; Endymion, 124, 125; Procris, 172; Echo, 188; the Naiads, 189-191; Hippolytus, 260; Agamemnon and Iphigenia, 280, 281, 316; Æneas, 290; Camilla, 364, 372; _C. 32, 58, 95-98_

Di[-c]'t[=e], _C. 5_

Di[-c]-tyn´na: Diana (Artemis) as protectress of fishermen

Di[-c]'tys, a fisherman of Seriphus who rescued Danaë and Perseus from the waves, and intrusted them to Polydectes, his brother

Di´d[=o], 114, 346, 350-352, 356; _C. 89, 245-254_

Dietrich (de´triG), 409; _C. 282-283_

Di´k[=e], personification of justice

Din-dy-me´n[=e], a surname of Cybele; from Mount Dindymus in Phrygia; _C. 41_

Di´-o-m[=e]de, son of Tydeus; contest with Mars, 84-86; in Trojan War, 280, 289, 290, 297, 309, 310, 314; _C. 68_

Di-o-me´d[=e][s+], son of Mars, owner of the man-eating mares, 218

Di-o´n[=e], mother of Venus (Aphrodite), 19, 290; _C. 26, 34_

Dionysia (di-o-nish´[)i]-a), _C. 42, 110-112_

Dionysus (di-o-ni´sus). See _Bacchus_

Di-os-c[=u]'r[=i]. See _Tyndaridæ_

Di´ræ. See _Furies_

Dir´ç[=e], 75

D[)i]s, 83. See _Pluto_

Discord, Dis-cor´d[)i]-a (Eris), 24, 41; apple of, 277, 278

Dith´y-ramb, of Arion, 454

Division of the world among Greek gods, 6

Do-do´na, oracle of, 19, 20; _C. 24-25, 30_

Dol´phin and Apollo, _C. 30_

D[='o]n´n[~e]r, Thôr, 412, 415

Do´ris, 55, 97, 198, 269

Do´rus, Do´r[)i]-an, 16, 119, 120; _C. 93_; genealogy, 103, table G, _148_ (2), (5)

Drä´p[.a][s+], the, 458

Dreams, gates of, 54; _C. 49_

Dry´ads, the, 45, 138, 186; myths of, 191-195; _C. 131_

Dry´o-p[=e], 191, 192; _C. 137_

Dwarfs, 401

Dyaus (_cf._ Zeus, Jupiter). See _Hindu divinities_ (1)

Dy´nast, the (Pluto), 167; _C. 118_

Earth, 3, 4, 5, 8, 97; Greek gods of, 42-46; Greek conception of world, 42, 43; myths of great divinities of, 152-158; of divinities of earth and the underworld, 159-168; of lesser divinities of, 181-197. See also _Gæa_

East of the Sun and West of the Moon, story of; analogy of incident, _C. 101-102_

E-[-c]hid´na, half serpent, half woman, who by Typhon bore Cerberus, the Nemean lion, and the Lernæan Hydra

E[-c]h´o (according to rule, [=E]'[-c]ho), 188, 189; _C. 132-133_

Ed´d[.a][s+], 373, 394; derivation of name, history of poems, 458-460; translations and authorities, 458-460, notes, and _C. 268-282_

E-don´[)i]-d[=e][s+], Mount E´don, _C. 42_. See _Bacchus_

Eëtion (e-e´sh[)i]-[)o]n or e-et´[)i]-[)o]n), 291

E-[.g]e´r[)i]-a, 63, 260; _C. 54_

Egypt, 207, 249, 447; _C. 149-154_

Egyptians, 442; records of myths, 462; studies on, _C. 302_

Egyptian divinities, (1) Those of Memphis were Phtha, Ra, Shu and Tefnet, Seb and Nut, Osiris and Isis, Seth and Nephthys, Horus and Hathor. (2) Those of Thebes were Amen (Ammon), Mentu, Atmu, Shu and Tefnet, Seb and Nut, Osiris and Isis, Seth and Nephthys, Horus and Hathor, Sebek, Tennet, and Penit. See _Encyc. Brit._, and authorities referred to in _C. 302_. The following lists are genealogically arranged: (1) Phtha, Seb, Ra; (2) Amen, etc. (1) _Phtha_ or _Ptah_: chief deity of Memphis; perhaps of foreign origin. His name means the "opener," or the "carver." He is called "the Father of the Beginning," and as the prime architect, or artificer, recalls the Greek Hephæstus. He is the activity of the "Spirit," Neph, Chnuphis. He is represented as a mummy or a pygmy. _Pakht_ and _Bast_: a goddess of two forms, lioness-headed or cat-headed. At Memphis, Pakht was worshiped as wife of Phtha; at Bubastis, Bast was adored as daughter of Isis. _Nefer Atum_: worshiped at Heliopolis as the son of Phtha. Like Osiris (see below), he is the sun of the underworld. _Seb_: the father of the Osirian gods. He is the god of earth and its vegetation; represented as a man with the head of a goose; he corresponds with the Greek Cronus; his consort was Nut. _Nut_: wife of Seb, mother of the Osirian gods; the vault of heaven; she may be likened to the Greek Rhea. _Osi´ris_, or _Hesiri_: the good principle. Identified with the vivifying power of the sun and of the waters of the Nile. In general, the most human and most beneficent of the Egyptian deities. He is the son of Seb (or, according to some, of Neph, Chnuphis). He may be likened to the Greek Apollo, as a representative of spiritual light; to Dionysus in his vivifying function. He wages war with his brother Seth (Set), the principle of Evil, but is vanquished by him, boxed in a chest, drowned, and finally cut into small pieces. His sister-wife, Isis, recovers all but one piece of the body of O., and buries them. He becomes protector of the shades, judge of the underworld, the sun of the night, the tutelary deity of the Egyptians. He is avenged by his son Horus, who, with the aid of Thoth (reason), temporarily overcomes Seth. The myth may refer to the daily struggle of the sun with darkness, and also to the unending strife of good with evil, the course of human life, and of the life after death. O. is represented as a mummy crowned with the Egyptian miter. _I´sis_, or _Hes_: the wife and feminine counterpart of Osiris. Represented as a woman crowned with the sun's disk or cow's horns, bearing also upon her head her emblem, the throne. _Ho´rus_, or _Har_: son of Osiris and Isis, who, as the strong young sun of the day, avenges his father, the sun of the underworld. He is Horus the child, Horus the elder (as taking the place of his father on earth), or sometimes Horus Harpocrates, the god of silence. As the latter, he holds a finger to his lips. He may be compared with the Greek Apollo. _Harpoc´ra-tes_: see _Horus_ _Ha´thor_, or _Athor_: a goddess often identified with Isis. She had the head of a cow and wears the sun's disk, and plumes. Her name means "Home of Horus." She has characteristics of the Greek Aphrodite. _Seth_, or _Set_: the principle of physical, and later of moral, darkness and evil. He is the opponent of his brother, or father, Osiris. Represented as a monster with ass's body, jackal's ears and snout, and the tail of a lion. _Nephthys_: a goddess of the dead; the sister of Isis, and wife of Seth. She aided Isis to recover the drowned Osiris. _A´pis_: the sacred bull, into which the life of Osiris was supposed to have passed. The name also indicates the Nile. The bull Apis must have certain distinguishing marks; he was treated like a god; and on his death (he was drowned at twenty-five years of age) the land went into mourning until his successor was found. He was worshiped with pomp in Memphis. See _Serapis_ _Sera´pis_ (or _Ser´apis_; see _Milton, Paradise Lost, 1, 720_): as Apis represents the living Osiris, so S. the Osiris who had passed into the underworld. _Ra_: originally the deity of the physical attributes of the sun; but ultimately the representative of supreme godhead. Worshiped through all Egypt, and associated with other gods who are then manifestations of his various attributes. He is the victorious principle or light, life, and right, but rules over, rather than sympathizes with, mankind. He is of human form, sometimes hawk-headed, always crowned with the sun's disk. His Greek counterpart is not Apollo, but Helios. _Mentu_: Ra, as the rising sun _Atmu_: Ra, as the setting sun _Shu_: the solar light; son of Ra, Mentu, or Atmu (2) _Ammon_, or _Amen_: "the hidden," a deity of the Egyptian Thebes; generally associated in attributes with some other god. As Amen-Ra he is the king of Theban gods, the divinity of the sun. He is of human form; rarely with a goat's head, as represented by the Greeks. He corresponds to the Greek Zeus. As Amen-Khem he is the god of productivity, and is represented with a flail in his hand. His consort is Mut, or Maut, and their son is Khuns. _Mut_, or _Maut_: the mother; the Theban goddess of womanhood, wife of Amen-Ra. She corresponds to the Greek Demeter. _Khuns_: son of Ammon and Maut; a divinity of the moon. He is sometimes hawk-headed; generally invested with the disk and crescent of the moon. _Neph_, _Chnuphis_, _Khnum_, _Num_, or _Nu_: the soul of the universe; the word or will of Ammon-Ra; the creator. Represented with the head of a ram. _Khem, Chem_ (_cf._ Milton's _Cham_), called also _Min_: the energizing principle of physical life. Associated with both Ammon and Osiris. His counterpart in classical mythology is Pan, or, as god of gardens, Priapus. _Neith_: goddess of the upper heaven; self-produced; mother of the sun; goddess, consequently, of wisdom, the arts of peace and of war. Likened by the Greeks to Athena. Worshiped in Lower Egypt as a woman in form, with bow and arrows in her hand. _Ma-t_: goddess of truth; her emblem is the ostrich feather, which signifies truth. She is the wife of Thoth. _Thoth_: the chief moon-god; characterized by his wisdom, and his patronage of letters. Husband of Ma-t _Anubis_: son of Osiris. Guide of ghosts

Eileithyia ([=i]-l[=i]-th[=i]'ya) or Ilithyia ([)i]l-[)i]-th[=i]'ya), the name of a goddess, or of goddesses, of childbirth; later identified with Diana; _C. 32_

E-lec´tra, daughter of Agamemnon, 275, 276, 315; _C. 190-194_ (2), _228-230_

E-lec´tra, a Pleiad, 123, 124; _C. 97, 148_ (5), _190-194_ (5)

E-lec´try-[)o]n, 214, 215

Elegiac ([)e]-le´j[)i]-ak or el-e-ji´ak) poets of Rome, 457

Eleusinia (el-[=u]-sin´[)i]-a), Eleusinian mysteries; Eleusis (e-l[=u]´sis), 44, 165, 442; _C. 114-117_

Eleusis. See _Eleusinia_

Eleutho (e-l[=u]'th[=o]). See _Eileithyia_

Elfheim (elf´h[=a]m or elf´h[=i]m), 377, 394

Elgin Marbles, _C. 27, 176-181_

E´l[)i]s, 117, 170, and _passim_; _C. 93_

Eliudnir ([)e]l-[)i]-[)oo]d´n[=e]r), 377

Elli ([)e]l´l[=e]), 384, 386

Elves, 394; _C. 268-281_

Elysium (e-lizh´[)i]-[)u]m or e-liz´[)i]-[)u]m), Elysian (e-lizh´[.a]n or e-liz´[)i]-[.a]n) Plain, 43, 274, 356, 360; description of Elysian Fields, 51, 52, 358, 359; Andrew Lang's Fortunate Islands, 52; _C. 44-46_

E-ma´th[)i]-a: Thessaly, or Pharsalia

Em´bla, 374

En-çel´[.a]-dus, a Giant, 7

En-[+c]he´l[)i]-ans, country of the, 89; _C. 70_

Endymion (en-dim´[)i]-[)o]n), 2, 117, 237; myth of, 124, 125, 201; _C. 98_; genealogy, _148_ (3), (5), _168_

Enipeus (e-ni´p[=u]s), 170; _C. 119-120_

En´na, 120, 160, 163; _C. 93, 114-117_

En-y-a´l[)i]-us: the horrible, the warlike; an epithet of Mars

Enyo (e-ni´o), mother, daughter, sister, or wife of Mars; the horror, 24; also one of the three Grææ

E´[)o]s, 39. See also _Aurora_

Ep´[.a]-phus, 94, 207; _C. 76_

E-pe´us, the artificer of the Wooden Horse

Eph´esus, Diana of, _C. 32_; Venus of, _C. 34_

Eph-[)i]-al´t[=e][s+], 93; _C. 8_

Ep´ics. See _Homer_, _Virgil_, _V[.o]lsunga Saga_, _Nibelungenlied_, _Mahâbhârata_, _Râmâyana_

Ep-[)i]-dau´rus, 251

Ep-ig´o-n[=i], 268

Ep-[)i]-men´[)i]-d[=e][s+], a Cretan herdsman, who awoke from a sleep of fifty-seven years to find himself endowed with gifts of prophecy, purification, and priestcraft

Epimetheus (ep-[)i]-me´th[=u]s), 9; marries Pandora, 11; _C. 10-15_

E-pi´rus, 349

[)E]r´[.a]-t[=o], the muse of love poetry, 37

[)E]r´da, in Wagner's Ring, 415, 418, 419, 424, 425

[)E]r´e-bus, 4, 135, 162, 259, 363; _C. 3, 49, 101-102_

Erechtheus (e-rek´th[=u]s), 249; _C. 174_

[)E]r-i[-c]h-tho´n[)i]-us, 207; descendants of, 249-260; _C. 148_ (4), _174_

[)E]r-i[-c]h-tho´n[)i]-us, son of Dardanus and fourth king of Troy, _C. 190-194_ (5)

E-r[)i]d´[.a]-nus, 98; _C. 76_

Erinys (e-rin´is or e-ri´nis), E-rin´y-[=e][s+]. See _Furies_

[)E]r-[)i]-phy´l[=e], 265, 266, 268; _C. 70_

E´ris, 24, 41. See _Discord_

E´r[)o]s, 3, 4; _C. 3, 38_ (1). See _Cupid_

[)E]r-y-çi´na, Venus, to whom Mount Eryx and the city of that name, with its temple of Venus, were sacred, 255; _C. 34_

[)E]r-y-man´thus, Mount, 119; boar of, 217; _C. 93, 156-162_

[)E]r-y-si[-c]h´th[)o]n, myth of, 191, 192

[)E]r-y-the´a, island of, 219

[)E]r-y-the´is, one of the Hesperides

E´ryx, Mount, 32, 159; _C. 114-117_

Eskimos, 449

E-te´o-cl[=e][s+], 264, 266; _C. 182-189_, table N

Etruscans, 63, 367

Etzel (et´sel), Lament over the Heroes of, 461. See _Attila_

Eub[oe]a ([=u]-be´a), 56

Eu-he´m[~e]r-us or Eu-hem´[~e]r-us (Eue-merus), Eu-he-m[~e]r-is´tic or Eu-hem-[~e]r-is´tic, 436

Eu-mæ´us, 339, 340, 343

Eu-men´[)i]-d[=e][s+], 256; _C. 49_. See _Furies_

Eu-mol´pus, Eu-mol´p[)i]-dæ, a Thracian singer and his descendants, priests of Demeter in the Eleusinian mysteries

Eu-phra´t[=e][s+], 97

Eu-phros´y-n[=e], one of the Graces, 36

Eu-rip´[)i]-d[=e][s+], 455; references to, 110, 215, 242, 261, 265, 266, 281, 313, 315, 316; translations, _C. 298_

Eu-ro´pa, 64, 207, 246; myth of, 68-71; portrayed by Arachne, 84; _C. 57_, table D; _59_ and table E

Eu-ro´t[)a]s, 253

Eu´rus, 38

Eu-ry´[.a]-l[=e], one of the Gorgons

Eu-ry´[.a]-lus, 368-370

Eu-ryb´[)i]-[=e], a Titan, wife of Creüs, _C. 4_

Eu-ry-cle´a, 341

Eu-ryd´[)i]-ç[=e], 165-168, 202, 203; _C. 118_

Eu-ryl´o-[-c]hus, 324, 325

Eu-ryn´o-m[=e], 36, 90; _C. 4, 71_

Eu-ry-ph[.a]-es´sa, _C. 4_

Eurystheus ([=u]-ris´th[=u]s), 216-220

Eurytion ([=u]-rish´[)i]-[)o]n or [=u]-rit´[)i]-[)o]n), 219, 259

Eu-t[~e]r´p[=e], the muse of lyric poetry, 37; _C. 38_ (4)

Euxine ([=u]k´s[)i]n) Sea, 231

E-vad´n[=e], 266

E-van´der, 365-367

Eve and the apple, 440

E-ve´nus, 115

E´v[)i]-us, _C. 42_. See _Bacchus_

Fable, definition of, 1; distinguished from myth, 1-2; some writers of, 2

Fafner (fäv´n[~e]r), Fafnir, 412, 415, 419, 420, 422, 423, 427

Fafnir (fäv´n[=e]r), Fafner, 400, 401. In Wagner's Ring, see _Fafner_

Fair, Brown, and Trembling, story of; analogy of incident, _C. 101-102_

Famine, personified, 192

Farbauti (fär´bou-te), 377

Fä´[s+][=ó]lt, 412, 415

Fas´t[=i], Ovid's, 456

Fate (Greek _A-nan´ke_, Latin _Fa´tum_), the necessity above and behind gods as well as men

Fates, the (Greek _M[oe]'ræ_, Latin _Par´cæ_), subject to Jupiter; their office, 38, 106, 107, 163, 167, 237, 240, 269; daughters of Themis, or of Night, 38; song of, 272; _C. 38_ (6), _49_

Fau´na, 61

Fau´n[=i], Fauns, 61, 153, 185, 186, 190, 195; _C. 54, 131_

Fau´nus, 61, 198, 362

F[.a]-vo´n[)i]-us, 38

Fen´ris, 377, 378, 387, 395, 396

Fensalir (fen-sä-l[=e]r´), 387, 389

Fe-ro´n[)i]-a, 63; also worshiped in the mart as a goddess of commerce; a Sabine deity

Fi´d[=e][s+], 63

Flood, the, in Greece, 15

Flo´ra, 61; loved by Zephyrus, 39; _C. 54_

Fon-t[)i]-na´l[)i]-a, 62

Fon´tus, 62

For-t[=u]'na, 63

Fox and Grapes, reference to, 1

Freia (fr[=e]'a), Freya, 412-415. See _Freya_

Freki (fr[=a]'k[=e]), 375

Freya (fr[=a]'a), Freia, 377-380, 393 See _Freia_

Freyr (fr[=a]''r) or Froh (fr[=o]), 377, 386, 387, 393-395, 412; _C. 268-281_

Frick´a or Frig´ga, 412, 415, 418, 420

Frig´ga or Frick´a, 374, 387, 389, 393; _C. 268-281_

Froh (fr[=o]) or Freyr (fr[=a]''r), 412, 413, 415

Frost giant (Ymir), 373

Frost giants, 376, 378, 380, 393, 395

Furies, F[=u]'r[)i]-æ (E-rin´y-[=e][s+], Di´ræ, Eu-men´[)i]-d[=e][s+], Sem´næ: A-lec´to, T[)i]-siph´-o-n[=e], Me-[.g]æ´ra), 5, 51, 354, 357; attendants of Proserpine, 53, 54; mollified by Orpheus, 166; avengers of Ibycus, 196, 197; Orestes pursued by, 316; _C. 49, 140_

Gæa (je´a), [.G][=e], or T[)e]r´ra, 4, 5, 6, 44, 220; the Roman Tellus, 59. See _Earth_

Gal-[.a]-te´a, the Nereid, 55, 185; myth of Acis, Polyphemus, and G., 198-200; _C. 141_

Gal-[.a]-te´a and Pyg-m[=a]'l[)i]-[)o]n, 147; _C. 105_

Gandharvas (gund-hur´w[.a][s+]). See _Hindu divinities_ (2)

Gan´[.g][=e][s+], 97

Gan-y-me´da, a name of Hebe

Gan´y-m[=e]de, 36; _C. 38_ (2)

Gardens of the Hesperides, _C. 149-154_

Gáthás (gä´tä[s+]), 463

Gautama (gou´t[.a]-m[.a]). See _Buddha_

[.G]e. See _Gæa_ and _Earth_

[.G]el´l[)i]-us, reference to, 60

[.G]em´[)i]-n[=i]. See _Tyndaridæ_

[.G]e´nius, the Roman tutelary spirit, 62, 181

[=G][)e]r´da, 387

Geri ([=g][=a]'r[=e]), 374

German heroes, myths, and lays, 2, 405-409; _C. 283-288, 301_

German mythology, narrative of, 405-409; records of, 448, 460, 461; translations and authorities, _C. 283-288_

[=G][)e]r´n[=ó]t, 407

Geryon (je´r[)i]-[)o]n), son of Chrysaor and Callirrhoë, 219

Giallar ([=g][)i]äl´lär), 395

Giants, Greek ([.G][=i]-gan´t[=e][s+]), 2, 5; war of, 7, 8, 159; interpretation of, 440; _C. 8_

Giants, Norse, 373, 376, 412

Gibichungs ([=g][=e]'biG-[)oo]ng[s+]), 426-429

Ginnungagap ([=g]in´n[=oo]n-gä-gäp´), 373

Giselher ([=g][=e]'zel-h[)e]r), 407

Giuki ([=g][)i][=u]'k[=e]), 403

Gladsheim (gläts´h[=a]m or gläts´h[=i]m), 374

Glau´ç[=e] (or Cre-[=u]´sa), 235; _C. 163-167_ (Interpret.)

Glau´cus, formerly a fisherman of B[oe]otia, afterward a sea-god, 58, 204; _C. 142_. Sometimes confused in mythology with the following:

Glau´cus of Corinth, son of Sisyphus and father of Bellerophon, 200, 201, 214

Glau´cus, grandson of Bellerophon, in the Trojan War, 280, 290

Gleipnir (gl[=a]p´n[=e]r), 378

Glis´ten-heath, 401

Glyptothek (glip-to-t[=a]k´) at Munich, of King Louis I of Bavaria; one of the finest collections of ancient statuary in the world

Gnossus (nos´us), Cnosus, Cnossus, the ancient capital of Crete; home of Minos, 256

Gods, the Egyptian. See _Egyptian divinities_

Gods, the great, of Greece, origin of, 4, 8; home of, 18; enumerated, 19; number of, discussed by Gladstone, _C. 23_; attributes of gods of Olympus, 19-41; lesser divinities of Olympus, 35-41; Greek gods of the earth, 42-46; Greek gods of the underworld, 47-54; Greek gods of the waters, 55-58; gods common to Greece and Italy, 59; distinctively Roman, 59-63; derived from the Etruscans, 63; myths of the great Greek divinities of heaven, 64-151; of earth, 152-158; of earth and underworld, 159-168; of waters, 169-171; of lesser divinities of heaven, 172-180; of lesser divinities of earth and underworld, 181-197; of lesser divinities of waters, 198-205; _C. 22, 23_

Gods, the Hindu. See _Hindu divinities_

Gods, the Norse, 373-397

Golden Age, the, 10, 11, 59, 366; _C. 10-15_

Golden Ass, the, 457

Golden Fleece, quest of, 206, 229-233, 455; _C. 163-167_

Gol´[.g][=i], a city of Cyprus, beloved by Venus, 253

Gor´d[)i]-an Knot (Gor´d[)i]-us), _C. 113_

Gor´gons (Sthe´no, Eu-ry´[.a]-l[=e], Me-d[=u]´sa), described, 57; _C. 149-154_. See _Medusa_

Goth´land, Goths, 398, 399

Graces, Gratiæ (gra´sh[)i]-[=e]), [-C]h[)a]r´[)i]-t[=e][s+], 30, 31, 40, 69, 181; attributes of, and names, 36; lines by Spenser on the Graces, 36, 37; _C. 38_ (3)

Græ´æ, Gray-women (Di´no, Pe-phre´do, E-ny´o), described, 57; and Perseus, 209; _C. 149-154_

Gräm, 401, 404, 405

Grä´n[~e], 426

Greek, Greeks, 2, 442, 447, 448; myths of creation, 3; view of nature, 181, 435, 443. See also _Gods_, _Heroes_, _Myths_

Grey´fell, 401, 403, 405

Grimhild (gr[)i]m´h[)i]lt), 403

Grim-hil´d[~e], 427

Gudrun (g[=oo]d´r[=oo]n or g[=oo]-dr[=oo]n´), 403-405. See _Gutrune_

Gullinbursti (g[=oo]l-in-b[=oo]r´st[=e]), 393

Gulltop (g[=oo]l´top), 393

Gunnar (g[=oo]n´när), 403-405. See _Gunther_

Gunther (g[)oo]n´t[~e]r), 405-409; in Wagner's Ring, 426-429; _C. 282-283_

Gutrune (g[)oo]-tr[=oo]'n[~e]), in Wagner's Ring, 426-429

Guttorm (g[=oo]t´tôrm), 403, 404

[.G]y´[=e][s+] or [.G]y´[.g][=e][s+], Çen-tim´[.a]-nus, _C. 4_

[.G]y´[.g][=e][s+], first King of Lydia; famous for his riches

Gyoll ([=g][)i][[='o]]l), 391

Ha´d[=e][s+], _C. 44-46, 47, 49_. See _Pluto_

Ha´d[=e][s+], realm of, 35, 47; _C. 44-46_. See _Underworld_

Hæ´m[)o]n, 267; _C. 182-189_, table N

Hæ-mo´n[)i]-a, 177

Hæ´mus, Mount, 96; _C. 76_

Hä´[=g]en, 405, 408, 409; in Wagner's Ring, 419, 426-430

Hal-çy´o-n[=e], 172; and Ceyx, myth of, 175-177; _C. 125_

Ham-[.a]-dry´ads, 186; myths of, 191-195

Happy Isles, the, 345

Har-mo´n[)i]-a, 24, 71, 153; and Cadmus, 89, 90; necklace of, 89, 265, 268; _C. 70_

Har´pies, Harpyiæ (har´p[)i]-y[=e] or har-p[=i]'y[=e]), described, 56, 57, 348, 362; _C. 50-52_ and table C

Har-poc´r[.a]-t[=e][s+]. See _Egyptian divinities_ (1)

Hä´th[)o]r, Ä´th[)o]r. See _Egyptian divinities_ (1)

Heaven, abode of Greek Gods, 4, 5, 6, 18; attributes of Greek gods of, 19-41; myths of greater Greek gods of, 64-151; of lesser Greek gods of, 172-180. See _Olympus_

Heaven, personified, 3. See _Uranus_

He´b[=e], 18, 86, 234; daughter of Juno, 19, 22; attributes of, wife of Hercules, 36, 227; _C. 38_ (2)

He´brus, 168; _C. 118_

Hec´[.a]-b[=e]. See _Hecuba_

Hec´[.a]-t[=e], described, 54, 232, 233, 234, 354; _C. 49_

Hec-[.a]-ton-[-c]hi´r[=e][s+], 4, 6; _C. 4_

Hec´tor, 275, 276, 280-306, 313; _C. 190-194_ (5), _207_

Hec´[=u]-ba, 280, 291, 292, 301-305, 312, 313; _C. 190-194_ (5), _216_

Heidrun (h[=a]d´r[=oo]n or h[=a]-dr[=oo]n´), 376

Heimdall (h[=a]m´däl or h[=i]m´däl), 377, 389, 393, 395

H[)e]l, 389, 391, 395

H[)e]l´a, 377, 387, 389-392, 395, 397

Helen, Hel´[='e]-na, 237, 242, 243, 259, 275-279, 287-289, 291, 301, 313, 314; _C. 190-194_ (3), _195_

Hel´[)e]-nus, 313, 349, 350, 451; _C. 190-194_ (5)

Helgi (hel´[=g][=e]) the Hunding's Bane, 460

He-li´[.a]-d[=e][s+], 98; _C. 76_

Hel´[)i]-c[)o]n, Mount, 96, 453; _C. 76_

He´l[)i]-[)o]s, confounded with Apollo, 27, 39; family of, 39; the sun, 43; contest with Neptune, 169; cattle of, 330; _C. 4, 38_ (10), _75_

Hel´l[=e], 229; _C. 163-167_

Hel´len, ancestor of the Hellenes, 16; sons of, 214, 229; _C. 148_ (5), table I

Hel´l[)e]s-pont, 142, 229, 272; _C. 104_

Hem´[~e]r-a, Day, sister of Æther and daughter of Erebus and Night, 4

Hephæstus (he-f[)e]s´tus), _C. 29_. See _Vulcan_

H[)e]r´[.a]-cl[=e][s+]. See _Hercules_

H[~e]r´c[~u]-l[=e][s+], H[)e]r´[.a]-cl[=e][s+], 7, 17, 20, 206, 230, 237; frees Prometheus, 12; passage from G. C. Lodge's Herakles, 12; son of Alemene, 64, 107; saves Alcestis from death, 107-110; passages from Browning's Balaustion's Adventure, 107-110; visits Tartarus, 168, 259; rescues Hesione, 170; contest with Acheloüs, 203, 204; myth of, 215-228; choice of, 216; youth and labors, 216-221; later exploits, 221-225; loss of Hylas, 222, 223; rescue of Daphnis, 223-225; expedition against Laomedon, 225; death, 225-228, 455; the Cretan bull, 246; constellation of, 258; arrows of, 309; interpretations of, 432, 437, 440; _C. 10-15, 156-162_

H[~e]r´m[=e][s+], _C. 36, 109_. See _Mercury_

H[~e]r-mi´o-n[=e], daughter of Menelaüs and Helen, 276, 314, 349; corruption of Harmonia, _C. 70_ (Illustr.)

H[)e]r´mod, 389-397 _passim_

He´ro and Le-an´der, story of, 141-145; extracts from Marlowe's Hero and Leander, 142-144; Keats' sonnet, On a Picture of Leander, 145; _C. 104_

He-rod´o-tus, 455; reference to, 268, 452

Heroes, the older Greek, 16, 17; myths of, 206-264; the younger Greek, myths of, 265 _et seq._; the Norse and the old German, 398-409

H[~e]r´s[=e], sister of Aglauros and Pandrosos, personifications of the dew, daughters of Cecrops, _C. 123-124, 174_

He´s[)i]-[)o]d (He-si´o-dus), cited, 4, 10, 16, 26, 31, 38, 51, 246, and footnotes _passim_; account of, and of his Works and Days, and Theogony, 453; translation by Thomas Cooke in Vol. II of English Translations from Ancient and Modern Poems, 3 vols., London, 1810; see also _C. 5, 298_

He-si´o-n[=e], 169, 170, 225, 276, 280; _C. 190-194_ (5)

Hes´p[~e]r, Hes´p[~e]r-us, 31, 40, 41, 160, 272; _C. 38_ (11)

Hes-pe´r[)i]-a, 348

Hes-p[)e]r´[)i]-d[=e]s, Hes´p[~e]r-ids, the sisters, the garden of, 40, 41, 57, 211, 219, 220; quotation from Milton's Comus, 40; from Tennyson's Hesperides, 40, 41; _C. 49_ and table B, _149-154, 156-162_

Hes´p[~e]r-is, 57

Hes´p[~e]r-us. See _Hesper_

Hes´t[)i]-a. See _Vesta_

Hieroglyphs, the, 462

Hil-[.a]-i´ra. (1) Daughter of Apollo. (2) Sister of Ph[oe]be, daughter of Leucippus; carried off with her sister by Castor and Pollux. (3) The _cheerful_, the moon

Hil´de-brand, 409

Him´[~e]r-[)o]s, personification of the longing of love, companion of Eros, 36

H[)i]nd´fell, 401, 403

Hindu divinities: arranged logically as (1) Vedic, (2) Brahmanic. For Buddhism see _Buddha_ (1) Vedic: the Aryan, and earliest form of Hindu religion; dealing primarily with elemental powers that, in time, acquired spiritual signification _Vedas_: the Sanskrit scriptures; from root, to know, to be wise; see p. 462. _Devas_: the shining ones, the gods (Gk. _theos_, Lat. _deus_) _Dyaus_: the shining sky, the elemental overruling spirit of the primitive Aryans (Gk. _Zeus_, Lat. _Jovis_) _Prithivi_: goddess Earth, spouse of Dyaus _Indra_: son of Dyaus and Prithivi; the atmospheric region; chief of the gods, and strongest; wielder of the thunderbolt, lord of the plains, bull of the heavens, conqueror of the malignant, thirsty Vritra, gatherer of clouds, dispenser of rain; adored in heaven and on earth _Varuna_: god of the vault of heaven (root _var_, to cover; Gk. _Ouranos_, Lat. _Uranus_); the all-seeing, the pardoner, merciful even to the guilty _Ushas_: the dawn, mother of mornings, brilliant of raiment, golden-colored, spreading far and wide, everywhere awakening men, preparing the pathway of the sun, and leading his white steed (Gk. _Eos_) _Surya_: the god who dwells in the sun (Gk. _Helios_) _Savitar_: the golden-handed sun in his daily course; the shining wanderer, comforter of men _Soma_: a deification of the spirituous "extract" of the moon-plant; giver of strength to gods and men, and of radiant light and joyous immortality _Vayu_: god of the wind _Maruts_: deities of the storm _Agni_: the youngest and one of the most important of the Vedic gods; lord of fire, born of two pieces of wood rubbed together; youngest of the deities, giver of prosperity to men, their guardian and companion, passing between heaven and earth "like a messenger between two hamlets" (Lat. _ignis_; _cf._ Gk. _Hephæstus_) _Vach_: goddess of speech, teacher of spiritual worship, promoter of wisdom and holiness _Vritra_: the monstrous snake, drinker of rain-clouds, dark, evil, and malicious, overcome by Indra (_cf._ Apollo and the Python) _Rakshasas_: powers of darkness, combated by Indra _Yama_, and his sister _Yami_: the first man and woman; leaving this life they prepared for those that should follow them blissful abodes in the other world, of which they are king and queen (2) Brahmanic: a philosophical outgrowth of the Vedic religion, which, on the one hand, was refined into logical subtleties, intelligible only to the learned; on the other hand, crystallized into symbols, rites, and unending conventionalities _Trimurti_: the Brahmanic Trinity, consisting of the following three persons: _Brahma_: in the Rig-Veda, a word for devotion, prayer; later, for the supreme principle of the universe, its source, its essence, and its sustenance. Brahma is the _creative energy_ of the godhead, calm, passionless, remote from man and the world. He is four-headed and four-handed. _Vishnu_: originally a benevolent Vedic deity, with certain attributes of the sun; adopted by a sect as its special god, and then annexed by the Brahmans as a manifestation of the supreme being in his work of _preservation_. He has nine times assumed human form, each incarnation having for its purpose the redemption of mankind from oppression or error. These incarnations are his _Avatars_. His ninth _Avatar_, say some, was as Buddha; in his tenth he will end this world, and reproduce Brahma, who will create things anew. _Siva_: originally a bloodthirsty deity, not of the Vedic, but of some aboriginal Hindu religion; absorbed in the Brahmanic godhead as the manifestation of _destructive power_. He is adorned with a necklace of skulls and earrings of serpents. _Sarasvati_: goddess of speech (see _Vach_); spouse of Brahma _Sri_, or _Lakshmi_: goddess of beauty; spouse of Vishnu _Uma_, or _Parvati_ (Kali, Durga): the inaccessible, the terrible; spouse of Siva _Gandharvas_: genii of music (_cf._ Centaurs); retainers of Indra _Lokapalas_: generic name for the Vedic deities when degraded by Brahmanism to the position of tutelary spirits

Hiordis (h[=é]-ôr´dis), 400

Hip-po-cre´n[=e] (anglicized in poetry as Hip´po-cr[=e]ne, three syllables), _C. 155_

Hip-po-d[.a]-mi´a, daughter of Atrax, 259

Hip-po-d[.a]-mi´a, daughter of [OE]nomaüs, 170, 171, 275; _C. 121_

Hip-pol´y-ta and Hercules, 219; _C. 176-181_ (Textual)

Hip-pol´y-tus, 150, 259, 260; _C. 174_, table M; _176-181_ (Illustr.)

Hip-p[)o]m´e-d[)o]n, 265

Hip-pom´e-n[=e][s+] (or Mi-lan´[)i]-[)o]n), 139-141, 230; _C. 103_

Hip-pot´[.a]-d[=e][s+], primarily Æolus II, son of Hippotes, but in poetry generally Æolus III, king of the winds, _C. 38_ (9), _125_

Historians of mythology, in Greece, 455; in Norway, 458-460. See _Myth, Preservation of_

Höder (h[~e]'d[~e]r), 376, 387-389, 397; _C. 268-281_

H[oe]nir (h[~e]'n[=e]r), 400

Hogni (h[=ó]g´n[=e]), 403-405; _C. 282-283_. See _Hagen_

Ho´mer (Ho-me´rus), cited, 3, 4, 18, 21, 23, 25, 31, 35, 47, 51, 75, 84-87, 91, 99, 104, 110, 115, 123, 150, 169, 180, 202, 214, 215, 246, and footnotes _passim_; story of Iliad and Odyssey, 283-345; relation to myth, 433; account of, 451, 452; _C. 5, 23, 195, 298_

Ho-m[)e]r´ic Hymns, 150, 177, 452

Ho-m[)e]r´[)i]-dæ, "sons of Homer," lived in Chios, and claimed to be descended from Homer. They were hereditary epic poets; _C. 298_

Horace (Ho-ra´tius), 2, 457; references to his poems, 77, 177, 207, 214; note on, and translations, _C. 299_

Ho´ræ. See _Hours_

Ho´rus, son of Osiris. See _Egyptian divinities_ (1)

Hours, or Seasons, the, 18, 22, 28, 31, 38, 40, 94, 95, 178, 179, 181; _C. 38_ (5)

Hrim-thursar (r[=e]m´th[~e]r-sär), 376

Hringham (r[=e]ng´h[.a]m), 392

Hugi (h[=oo]'[=g][=e]), 383, 385

Hugin (h[=oo]'[=g][=é]n), 374

Hunding (h[)oo]n´ding), 400, 401; in Wagner's Ring, 416-420

Hun´land, Huns, 398, 404, 409; _C. 282-283_

Huns, the, 398

Hy-[.a]-çin´th[)i]-a, _C. 30, 75_

Hy-[.a]-çin´thus, 93, 94, 103; _C. 75_

Hy´[.a]-d[=e][s+], the, daughters of Atlas, 57, 152, 344; _C. 110-112_

Hy´[.a]-l[=e], 121

Hy´dra, 51, 354, 357; the Lernæan, 217; _C. 156-162_ (Interpret.)

Hy-[.g]e´a, Hy-[.g]i´a, daughter of Æsculapius; the goddess of health

Hyginus (h[)i]-ji´nus), references to, 75, 123, 160, 170, 208, 215, 241, 243, 246, 249, 265, 269; _C. 299_

Hy´l[.a]s, the loss of, 222, 223; _C. 156-162_ (Illustr.)

Hy´men (Hy-m[)e]-næ´us), 36, 165; _C. 38_ (1)

Hy-p[~e]r-bo´re-ans (Hy-p[~e]r-bo´re-i), 26, 42, 92; Thomas Moore's Song of a Hyperborean, 43; _C. 39, 74_

Hy-pe´r[)i]-[)o]n or Hy-p[~e]r-[=i]'[)o]n, 4; _C. 4_

Hy-p[~e]r-mnes´tra, 207; _C. 149-154_

Hypnos (hip´n[)o]s). See _Sleep_

I-ac´[-c]hus, _C. 114-117_. See _Bacchus_

I-ap´e-tus, 4, 5, 6, 8; _C. 4_; descendants of, _148_ (5), table I

Iasius (i-a´sh[)i]-us), 237

Ib´y-cus, 196, 197, 453; _C. 140_

I-ca´r[)i]-us, 279, 338; _C. 190-194_ (3)

Ic´[.a]-rus, 222, 246, 247; _C. 173_

Iç´e-lus, a producer of dreams, son of Somnus, _C. 125_

I´da, Mount, 96, 110, 278; _C. 76_

I´da, the nymph, 5

I´da, the plain, 397

I-dæ´us, 305

I-da´l[)i]-um, a mountain and city of Cyprus, dear to Venus, 253

I´d[)a]s, 115, 116, 243

Idomeneus (i-dom´e-n[=u]s), 286, 288

Iduna (e-d[=oo]n´a), 376

Il´[~i]-[.a]d, narrative of, 283-306; a kind of myth, 433, 448; history of, 452, 453, 463; illustrative of, _C. 195_; translations, _298_; cited, see footnotes _passim_, and _Cowper_, _Derby_, _Gladstone_, _Lang_, _Pope_, in Index of Authors

Il´[)i]-[.a]d, the Little, 453

Il´[)i]-[)o]n, Il´[)i]-um, 179. See _Troy_

Ilioneus ([)i]-li´o-n[=u]s), 100

Ilithyia (il-[)i]-thi´ya). See _Eileithyia_

Il-[)i]-[=u]-p[~e]r´sis, the, 453

I´lus, son of Dardanus, died without issue

I´lus, son of Tros, _C. 190-194_ (5)

In´[.a]-[-c]hus, son of Oceanus, ancestor of the Argive and Pelasgic races, 17, 206; father of Io, 65, 207; ancestor of Minos, 246; Theban descendants of, 261; _C. 57_ and table D, _148_ (1)

India, 153, 447, 448; records of myths of, 462, 463; epics, 153, 462, 463; studies and translations of literature of, _C. 303_

Indians, red, mental state of, 441; myths of, 448

Indo-Europeans, 448

In´dra, _C. 109_. See _Hindu divinities_ (1)

I´no, 89, 156, 202, 229, 261; _C. 144_

I´o, 64, 94, 207; myth of, 65-67; Ionian Sea, 67; interpretation of myth, 439; genealogy, etc., _C. 57, 149-154_

I-ob´[.a]-t[=e][s+], 214, 215

I-o-la´us, 217, 221

I-ol´c[)o]s or I-ol´cus, 230; _C. 163-167_

I´o-l[=e], daughter of Eurytus, who refused to give her to Hercules, although the hero had fairly won her by his success in archery. Eurytus assigned as the reason for his refusal the apprehension lest Hercules might a second time become insane, and in that condition destroy Iole in spite of his love for her. By some she is made the half-sister of Dryope, 192, 225, 432

I´on, _C. 174_

I-o´n[)i]-a, 175

I-o´n[)i]-an Sea, 67

I-o´n[)i]-ans, origin of, 16; _C. 148_ (2)

Iph´[)i]-cl[=e][s+], 216, 221

Iph-[)i]-[.g]e-ni´a, 275, 276; in Aulis, 280, 281; in Tennyson's Dream of Fair Women, 281; among the Taurians, 316; _C. 190-194_ (2), _196, 228-230_ (In Art)

Iph-[)i]-me-di´a, 93

I´phis, 195

Iph´[)i]-tus, 221

I´ris, 40, 41, 176, 287, 296, 304, 367; _C. 38_ (12)

Iron Age, the, 15

I´sis. See _Egyptian divinities_ (1)

Islands of the Blest, 51, 52. See _Elysium_

Isles, the Fortunate, 52. See _Elysium_

Is´m[.a]-rus, 318

Is-me´n[=e], 263; _C. 182-189_

Is-me´nos, son of Niobe, 100

Is´tär, _C. 34_. See _Venus_

Isthmian Games, 202; _C. 176-181_ (Textual)

Italian gods, 59-63

Italy, 260, 348, 352, 360

Ith´[.a]-ca, 278, 279, 318, 337, 338, 448, 452

It´y-lus. See _Itys_

I´tys (i´tis), 249

I-[=u]'lus, As-ca´n[)i]-us, 362, 363, 369, 372

Ix-i´[)o]n, 166, 167, 358; _C. 118, 255-257_

Ja´na, 61

J[.a]-ni[-c]'[=u]-lum, 366

Ja´nus, 60, 61, 363, 366; _C. 54_

Jarnvid (yärn´v[=e]d), 392

Ja´sius, Ja´sus, I-a´sius, I-a´sus, father of Atalanta the Arcadian. See _Iasius_

Ja´son, 206; myth of, 230-235; quest of the golden fleece, 230-233, 455; _C. 163-167_

Jo-cas´ta, 262, 263; _C. 182-189_, table N

Jonah and Arion, 440

Jonakr (yôn´[.a]-k[~e]r), 405

Jormunrek (yôr´m[)oo]n-rek), 405

Jotham, 1. See _Judges_ 9, 7

Jötunheim (y[~e]'t[)oo]n-h[=a]m or y[~e]'t[)oo]n-h[=i]m), 374, 379, 380, 394

J[=u]'b[.a]l, 440

Ju´no (He´ra, He´r[=e]), 5, 7, 19; meaning of her names, 22; attributes of, her descent and marriage, 22; favorite cities and animals, 22; among the Romans, 59; Lucina, 61; protectress of women in Rome, 62; myths of Juno and Jupiter, 64-81; J. and Latona, 64; Io, 65-67; Callisto, 67, 68; Semele, 71; Ægina, 73; the sons of Cydippe, 80, 81; Vulcan, 90, 91; Bacchus, 152; Neptune, 169; Halcyone and Iris, 176; Echo, 188; Hercules, 216, 219, 227; Paris, 278; in Trojan War, 284, 285, 289, 295-298; Æneas, 350, 363-367, 372; _C. 26_

Ju´p[)i]-ter (Zeus), 5; war with Titans, 5, 6; sovereign of the world, 6; reign of, 6-8; creation of woman, 11; sends a flood to destroy men, 15; his abode, 18; his family, 19; signification of names, 19, _C. 24_; attributes, 19-21; his oracles, 19, 20; explanation of his love affairs, 20; other children of, 20; Greek conceptions of, 21; in art, statue of Olympian Jove by Phidias, 21; J. and Juno, 22; and Minerva, 23; and Metis, _C. 55_; and Vulcan, 25; and Latona, 26, 29, 64; and Dione, 31; and Maia, 34; and Vesta, 35; and Ganymede, 36; and Eurynome, 36; and Mnemosyne, 37; and Themis, 38; and Æsculapius, 38; and Semele, 44, 64, 71-73, 288; among the Romans, 59; myths of, 64-80; Danaë, 64, 208; Alcmene, 64, 215; Leda, 64, 242, 275; Io, 64-67; Callisto, 64, 67, 68, 241; Europa, 64, 68-71, 246; Ægina, 64, 73-75; Antiope, 64, 75-77; Baucis and Philemon, 77-80; treatment of Mars, 85, 86; the Aloadæ, 93; Phaëthon, 98; Æsculapius, 104; the Pleiads, 123; Cupid and Psyche, 136; Bacchus, 152; Ceres, 162; Neptune, 169; Ceyx and Halcyone, 177; Tithonus, 177, 180; the Cercopes, 222; Hercules, 227; Castor and Pollux, 243; Amphiaraüs, 265; Capaneus, 266; Peleus and Thetis, 269; in Trojan War, 278, 285-305, 312; Ulysses, 331; Æneas, 351, 356, 372; Salmoneus, 357; interpretations of, 434, 437; _C. 5, 10-15, 24-25, 55, 57, 58, 59, 60, 61_

Ju-tur´na, 62, 245

Ju-ven´t[)a]s. See _Hebe_

Ju-ven´tus, 63

Kali (kä´l[=e]). See Uma under _Hindu divinities_ (2)

Kär´ma: in Buddhism, the sum of a man's deeds, good and evil, which determines the nature of his future existence. See _Buddha_ and _Metempsychosis_

Khem (k[)e]m). See _Egyptian divinities_ (2)

Khuns (k[=oo]nz). See _Egyptian divinities_ (2)

Kle´is, _C. 107_

Ko´ra, Ko´r[=e] (Proserpina), 107; _C. 83_

Kriemhild (kr[=e]m´h[)i]lt), The Revenge of, 405-409, 461

Kro´n[)o]s. See _Cronus_

Lab´d[.a]-cus, house of, 206, 207, 261-264; _C. 57_, table D; _148_ (1); _182-189_, table N

Lab´y-rinth, the, of Crete, 246, 253; _C. 172_

L[)a]ç-e-dæ´m[)o]n. See _Sparta_

La[-c]h´e-sis, a Fate, 38

L[.a]-co´n[)i]-a, 51, 110

La´d[)o]n, the serpent that guarded the apples of the Hesperides; slain by Hercules

La-[=e]r´t[=e][s+], 278, 339; genealogy, _C. 190-194_ (4)

Læstrygonians (les-tr[)i]-go´n[)i]-[.a]n[s+]), the, 170, 324

La´[)i]-us, 261, 262; _C. 182-189_, table N

Lakshmi (l[)a]ksh´m[=e]). See _Hindu divinities_ (2)

Lamb's month, _C. 79_

Lampetia (lam-pe´sh[)i]-a), 330

Language, disease of, 437, 438, 446

La-oc´o-[)o]n, 311, 312; _C. 224_

La-od-[.a]-mi´a, daughter of Bellerophon, 298

La-od-[.a]-[=m]i´a, wife of Protesilaüs, 282; lines from Wordsworth, 282, 283; _C. 83_

La-om´e-d[)o]n, 110, 169, 170, 177, 276, 280; expedition against, 206, 225; _C. 84, 190-194_ (5)

Lap-[)i]-thæ, 259

La´r[=e][s+], distinguished from Penates, Manes, Larvæ, etc., 62

L[.a]-ris´sa, 108, 214; _C. 83_

Lär´væ, 62

L[.a]-ti´nus, 362

Lat´m[)o]s, Mount, 124; _C. 98_

L[.a]-to´na, Le´t[=o], children of, 19; and Delos, 29; and Jupiter, 64; wanderings of, 91, 92; and Niobe, 99-103; heals Æneas, 290; _C. 32, 72-73_

Lau´sus, 364, 370, 371

L[.a]-vin´[)i]-a, 362, 372

Le-an´der, 141-145; _C. 104_. See _Hero_

Leb-[.a]-de´a, _C. 30_

Le-byn´thos, 247

Le´da, 64, 237, 242, 259, 275; myth of, represented by Arachne, 84; _C. 168_, table K; _170-171, 190-194_ (3). See _Castor_ and _Pollux_

Le´laps, 175

Lem´n[)o]s, 25, 122, 231, 309; _C. 96, 107, 163-167_

Lem´[=u]-r[=e][s+], 62

Le-næ´a, _C. 42, 110-112_

L[~e]r-næ´an Hy´dra, 217

Le[s+]'b[)o]s, 149; _C. 107_

Lesser divinities of heaven among the Greeks, 35-41

Le´th[=e], 51, 176, 359, 360; _C. 44-46_

Le´t[=o], _C. 30, 32_. See _Latona_

Leucadia (l[=u]-ca´d[)i]-a), 454; _C. 107_

Leucippus (l[=u]-sip´us), 243

Leucothea (l[=u]-coth´e-a), a sea-divinity, 58, 202, 205, 331; _C. 144_

Li´ber, 59. See _Bacchus_

Lib´[~e]r-a, 59. See _Proserpina_

Li-beth´ra, 168; _C. 118_

Lib-[)i]-ti´na, _C. 48_

Lib´y-a, 97, 219; _C. 76_

Li´[-c]h[.a]s, 226

Lidskialf (lids´k[=é]-älf), 388, 389

Li-[.g]e´a, 205; _C. 146-147_

Light, 3, 4

Li´nus, 216, 451; lamentation for, 103, 104; _C. 75, 79_

Lit-y-[~e]r´s[=e][s+], 222, 223-225

Log, King, referred to, 1

Lo´[=g][~e], 412-414, 421. See _Loki_

Logi (lo´[=g][=e]), 382, 385

Lo-k[.a]-pä´lá[s+]. See _Hindu divinities_ (2)

Loki (lo´k[=e]), Lo´[=g][~e], 377-397 _passim_, 400, 412

Lo´tis, 192

Lo´t[)o]s, lotos-eaters, 318, 319; extract from Tennyson's poem, 319, 320

Love, 3, 4

Lucian (l[=u]´sh[.a]n), 455, 457 _n_

L[=u]'ç[)i]-fer. See _Phosphor_

L[=u]'çi´na, 61; _C. 26_

L[=u]'na, 63. See _Diana_ and _Selene_

Ly-æ´us, _C. 42_

Ly-ca´[)o]n, 300

Lycia (lish´[)i]-a), 214, 298; _C. 155_

Lycians (lish´[)i]-[.a]n[s+]), 71

Lycidas (lis´[)i]-d[.a]s), a goatherd of pastoral poetry. See _Theocritus, Idyl 7_; _Virgil, Bucolics 9_; _Milton's Elegy on Edward King_, etc.

Lycius (lish´[)i]-us), Apollo, _C. 30_

Lycomedes (lik-o-me´d[=e][s+]), 260, 279

Ly´co-phr[)o]n, _C. 298_

Ly-cur´gus, a king of the Edones, who, like Pentheus, resisted the worship of Bacchus

Ly´cus, 75; _C. 62_

Ly´d[=e], 189

Lynceus (lin´s[=u]s), 207, 243

Lyngi (lin´[=g][=e]), 400

Lyric poets, Greek, 453, 454; translations of, _C. 298_; Roman, 457

Lytyerses (lit-[)i]-[~e]r´s[=e][s+]). See _Lityerses_

M[.a]-[-c]ha´[)o]n, 296, 297, 309

M[.a]-cro´b[)i]-us, referred to, 60

Mæ-an´der, 97, 222, 246; _C. 76, 172_

Mænades (men´[.a]-d[=e][s+]), Mænads (me´-nads), 44, 45, 75, 254; _C. 62, 110-112_

Mænalus (men´[.a]-lus), a range of mountains in Arcadia, sacred to Pan, 112

Mæ-o´n[)i]-a, 154; _C. 110-112_

Mæ-[=o]n´[)i]-d[=e][s+]: a native of Mæonia; Homer

Mag´na Ma´ter, 59

Mahâbhârata (m[.a]-hä-bä´r[.a]-t[.a]), 462; translation, _C. 303_

Maia (ma´y[.a]), mother of Mercury (Hermes), 19, 34, 150; _C. 109_

Maia (ma´y[.a]), Ma´ja, or Ma-jes´ta: a name for Fauna, or for the daughter of Faunus and wife of the Roman Vulcan. In either case, called Bona Dea

Man, origin of, Greek, 8, 9

Ma´n[=e][s+], 62

M[.a]-nil´[)i]-us, _C. 299_

Man´t[=u]-a, 456

M[)a]r´[.a]-th[)o]n, 258

M[)a]r-[.a]-tho´n[)i]-[.a]n Bull, 252; _C. 176-181_ (Interpret.)

Ma´ro. See _Virgil_

Mär-pes´sa, 115, 116

Mars (A´r[=e][s+]), one of the great gods, 19; meaning of names, 23; attributes, 23, 24; his retinue, his mistress, his favorite abode and animals, 24; among the Romans, 59; father of Harmonia, 71, 89; myths of, 84-90; and Diomede, 84-86, 290; and Minerva, 86, 87; and Cadmus, 87-90, 261; and Vulcan, 91; father of [OE]nomaüs, 170; M. and Atalanta, 265; in Trojan War, 285, 287, 290; _C. 28_

Marsyas (mär´s[)i]-[)a]s), 112, 138, 451; _C. 87, 113_

Maruts (mur´[)oo]ts). See _Hindu divinities_ (1)

Mass, 4

Mä-t. See _Egyptian divinities_ (2)

Ma´ter Ma-t[=u]'ta, the goddess of the dawn, Aurora; among the Romans the name was applied also to Ino (Leucothea), 63

Ma´ter Tur´r[)i]-ta: Cybele, or Cybebe, with the mural crown, as protectress of walled cities

Mat-ro-na´l[)i]-a, _C. 26_

Me-co´n[=e]. See _Sicyon_

Me-de´a, myth of, 232-236, 242, 243, 252, 455; _C. 163-167_; genealogy, _172_, table L

Medici (med´[=é]-ch[=e]), the Venus of, 32, 33; _C. 35_

Me-d[=u]´sa, myth of, 208-211; extract from William Morris' Doom of King Acrisius, 209, 210; from Shelley's Medusa of Da Vinci, 210; _C. 149-154_

Me-[.g]æ´ra, 54

Meg-[.a]-len´sian Games, _C. 41_

Meg´[.a]-ra, 201, 202, 246

Meg´[.a]-ra, wife of Hercules, 216, 220

Me-lam´pus, 450

Mel-e-a´[.g]er or Me-le´[.a]-[.g]er, 206, 225, 231, 242, 265, 275; myth of, 237-241; as the sun, 432; _C. 168_

Mel-e-si[.g]'e-n[=e][s+], _C. 298_

Melib[oe]us (mel-[)i]-be´us), a herdsman of pastoral poetry. See _Virgil, Bucolics 1_

Mel´ic Nymphs, 5

Mel-[)i]-ç[~e]r´t[=e][s+], a sea-god, 58, 202, 261; _C. 70_

Melisseus (me-lis´[=u]s), _C. 146-147_

Me´l[)o]s, the Venus of, 32; _C. 35_

Mel-pom´e-n[=e], the muse of tragedy, 37; _C. 38_ (4)

Mem´n[)o]n, myth of, extract from Darwin's Botanic Garden, 179, 180, _C. 128_; family connections, 276, _C. 190-194_ (5); at Troy, 307

Mem´phis, a city in middle Egypt, _C. 30_

Me-nal´c[.a]s, a herdsman of pastoral poetry

Men-e-la´us, 275, 278-299, 313, 314; _C. 190-194_ (2), _195, 196_

Me-ne´n[)i]-us, 2

Men[oe]ceus (me-ne´s[=u]s), 266; _C. 182-189_, table N

Men[oe]tius (me-ne´sh[)i]-us), son of Actor and father of Patroclus; an Argonaut; _C. 190-194_ (4)

Men´tor, _C. 231-244_

Mentu (men´t[=oo]). See _Egyptian divinities_ (1)

Mer´c[=u]-ry, Mer-c[=u]'r[)i]-us (Herm´es), son of Maia, 19; meaning of name, 34; attributes, 34, 35; conductor of ghosts, 35, 47; among the Romans, 59; Argus and Io, 66, 67; his story of Pan and Syrinx, 66, 67; with Philemon and Baucis, 77; and Psyche, 136; myths of, Homeric Hymn to, 150, 151; aids Perseus, 209; aids Hercules, 220; father of Daphnis, 223, 224; M. and Nephele, 229; and Priam, 305; and Ulysses, 325, 331; and Æneas, 351; interpretations of, 432, 440; _C. 36, 109_

M[)e]r´o-p[=e], of Arcadia, 241; _C. 169_

M[)e]r´o-p[=e], daughter of [OE]nopion, 122

M[)e]r´o-p[=e], the Pleiad, 124; _C. 97, 155_, table

Mes-se´n[=e], 115, 243

Mes-se´n[)i]-a, 241; _C. 80_

Met´[.a]-bus, 364

Met-[.a]-môr´pho-s[=e][s+], Ovid's, 456, 457

Me-temp-sy-[-c]ho´sis, 360; _C. 255-257_

Me´tis, _C. 55_

Mezentius (me-zen´sh[)i]-us), 364, 367, 370, 371

Mi´d[.a]s, with Apollo and Pan, 110, 111; with Bacchus and Pan, 152, 157, 158; the choice of, 157; _C. 85-87, 113_

Mid´gärd, 373, 374, 378, 389, 392, 394

Mid´gärd serpent, 377, 386, 387, 395

Mi-lan´[)i]-[)o]n (or Hip-pom´e-n[=e][s+]), _C. 103_

Mi´lo. See _Melos_

Mi´m[.a]s, _C. 8_

Mime (m[=e]'m[~e]), in the Rhine-gold, 414, 421-424; in the Volsunga Saga, see _Regin_

Mimir (m[=e]'m[=e]r), 374

M[)i]-n[~e]r´va ([.A]-the´na, [.A]-the´n[=e]), 7; quotation from Odyssey, 18; daughter of Jupiter, 19; attributes, 23; meaning of her names, 23; her _ægis_, 23; favorite cities and animals, 23; among the Romans, 59; myths of, 81-84; contest with Neptune, 81, 82, 249; with Arachne, 82-84; quotation from Spenser's Muiopotmos, 83; contests with Mars, 84-86; helps Cadmus, 88, 89; inventor of the flute, 112; M. and Medusa, 208; Perseus, 209, 213; Bellerophon, 215; Hercules, 216, 220; Perdix, 248; Erichthonius, 249; Theseus, 256; Tiresias, 266; Paris, 278; in Trojan War, 284, 289, 290, 300, 302, 308-311; Orestes, 317; Ulysses, 332-340; _C. 10-15, 27_

M[)i]-no´id (M[)i]-no´is), Ariadne, daughter of Minos, 254

Mi´n[)o]s I, judge of the shades, 51, 53, 356; son of Europa, 71, 207; the house of, 206, 246-248; _C. 57_, table D, _148_ (1), _172_

Mi´n[)o]s II, 201; myths of, 242, 246, 247, 252, 259, 275

Minotaur (min´o-tôr), 246, 252, 256; _C. 172, 176-181_

Minyæ (min´[)i]-[=e]): descendants of Minyas, king of Thessaly; Argonauts

Mist, 3

Mnemosyne (ne-mos´[)i]-n[=e]), 4; mother of the Muses, 37; _C. 4_

M[oe]ræ (me´r[=e]), Par´çæ. See _Fates_

M[oe]ragetes (me-r[)a]j´e-t[=e][+s]): name applied to Zeus as leader of the Fates

Mo´ly, 319, 325

Mo´mus, _C. 49_, table B

Mongolians, 448

Mop´sus, attendant of the Argonauts, 451

Mop´sus, an ideal singer of elegies. See _Virgil, Bucolics 5_

Morpheus (môr´f[=u]s), 177; _C. 125._ See _Somnus_

Môr[+s], Than´[.a]-t[)o]s, Death, 298

Mos´[-c]hus, Lang's translation of Idyl II, 68-70; of Idyl VI, 189; _C. 59, 298_

Mountain giants, 376, 378-386, 393

Mul´ç[)i]-b[~e]r, 59; _C. 29_

Munin (m[=oo]'n[='e]n), 374

Munychia (m[=u]-nik´[)i]-a), _C. 32_. See _Diana_

M[=u]-sæ´us, a mythical poet, 451

M[=u]-sæ´us, writer of Hero and Leander, 141; translation by Fawkes in English Translations from Ancient and Modern Poems, Vol. II; _C. 104, 298_

M[=u]-sa[.g]'e-t[=e][s+]: name of Apollo as leader of the Muses

Muses (M[=u]´sæ), 18, 30; names and attributes, 37; _C. 38_ (4)

Music, Lydian, Dorian, etc., _C. 59_

Muspelheim (m[=oo]s´pel-h[=a]m or m[=oo]s´-pel-h[=i]m), 373, 395

Mut (m[=oo]t), or Maut. See _Egyptian divinities_ (2)

My-çe´næ:, 22, 216, 275, 280, 316

Myg-do´n[)i]-an flutes, 69; _C. 59_

Myrmidons (m[~e]r´m[)i]-d[)o]n[s+]), 75, 269, 297; _C. 61_

My´r[)o]n, a sculptor, _C. 64_

Myr´rha (m[)i]r´a), 126, 150

Myrtilus (m[~e]r´t[)i]-lus), 171

Mysia (mish´[)i]-a), 179, 222, 231; _C. 128, 156-162_

Mysteries of Eleusis, _C. 114-117_

Myth, stages of mythological philosophy, study of myth, see Introduction; definition of, 1; compared with fable, 1, 2; of existent races, 2; Greek myths of creation, 3-17; of great divinities of heaven, 64-151; of great divinities of earth, 152-158; of earth and underworld, 159-168; of waters, 169-171; of lesser divinities of heaven, 172-180; of lesser divinities of earth and underworld, 181-197; of lesser divinities of waters, 198-205; of the older heroes, 206-264; of the younger heroes, 265 _et seq._; of the Norse gods, 373-397; of Norse and Old German heroes, 398-409. Kinds of myth, 431; explanatory, 431; æsthetic, 432; æsthetic myth is _historic_ or _romantic_, 433; of unconscious growth, 433; divisions of inquiry, 433. Origin and Elements of myth, 433-446; the reasonable element, 434; part played by imagination, 434; and by belief, 435; the unreasonable element, 436; theories of, 436; theory of deterioration, 436-440; theory of progress, 440-446. Interpretation, methods of: _historical_ or Euhemeristic, 436; _philological_, 437; _allegorical_, 438; _theological_, 439; the mental state of savages, 440-442; senseless element, a survival, 442; anthropological method of study, _ætiological_ origin, 442; other germs than savage curiosity and credulity, 442; phases of myth-development, 443-445; physical, religious and moral import, 444; myth more than sham history, 446; general conclusion concerning elements of myth, 446. Distribution of myth, 447-449; theories of _accident_, _borrowing_, _origination in India_, _historical tradition_, 447; _Aryan germ_, _psychological basis_, 448; the state of the problem, 449. Preservation of myth, 450-463; in Greece, 450-455; in Italy, 456, 457; in Scandinavian lands, 457-460; in Germany, 460, 461; in the Orient, 462, 463. Interpretation and illustration of myths, see Commentary sections corresponding to those of the Text.

Mythical musicians and poets, 451

Mythical prophets, 450, 451

Mythical tales of the Younger Edda, 459

Naiad (na´yad), the poem by R. Buchanan, 190, 191

Naiads (na´yads), Naiades (na´y[.a]-d[=e][s+]), 58, 98, 186, 189-191, 198, 204, 222, 224; _C. 50-52_

Na´is, 185; _C. 129-130_

N[.a]'l[.a], episode of, 461, 462

Nalopákhyánam (n[.a]-lo-pä-kyä´n[.a]m), translation of, _C. 303_

Names, Greek and Latin, system of transliteration of, see Preface; pronunciation of, 541, 542, and Index

Nän´nä, 390-392; _C. 268-281_

Nar-çis´sus, 188, 189; _C. 132-133_

Nausicaa (nô-sik´[=a]-[.a]), 332-336; _C. 231-244_

Nausithoüs (nô-sith´o-us), 332

Nax´[)o]s, 153, 154, 155, 156, 169, 257; _C. 110-112_

Ne-æ´ra, a maiden of pastoral song. See _Virgil, Bucolics 3_

Nefer Atum (na´f[)e]r ä´t[=oo]m). See _Egyptian divinities_ (1)

Neidings (ni´ding[s+]), 416

Neith (na´ith). See _Egyptian divinities_, (2)

Neleus (ne´l[=u]s), 170

Ne´me-a, the city, the valley, and the lion of, 216; _C. 156-162_

Ne-me´an, or Ne´me-an, Games, founded by Hercules; held in honor of Jupiter; _C. 176-181_ (Textual)

Nem´e-sis, 38; _C. 38_ (7)

Ne-op-tol´e-mus, 276, 293, 309, 313, 314, 349

Ne-pen´th[=e], 314

Neph (n[)e]f), Chnuphis (kn[=oo]'fis), Khnum (kn[=oo]m), Num or Nu (n[=oo]m, n[=oo]). See _Egyptian divinities_ (2)

Nephele (nef´e-l[=e]), 121, 229

Nephthys (nef´this). See _Egyptian divinities_ (1)

Nep´tune, Nep-t[=u]'nus (Po-sei´d[)o]n), 5, 6, 15, 204, 454; sometimes reckoned as one of the great gods, 19; founder of the younger dynasty of the waters, 55, 56; among the Romans, 59; contest with Minerva, 81, 82, 249; N. and Iphimedia, 93; and Phaëthon, 97; and Laomedon, 110, 169, 170; and Idas, 115; father of Orion, 122, 170; myths of, 169-171; N. and Andromeda, 169; sons of N., 170; N. and Amymone, and Ceres, and Arne, and Tyro, and Pelops, 170, 171; and Erysichthon, 192; his sea calves pastured by Proteus, 202; his son Antæus, 220; and Minos, 246; and Hippolytus, 260; in Trojan War, 285, 293-296, 301, 311; and Ulysses, 337; and Æneas, 350, 352; _C. 50-52_, table C

Ne´re-ids (Ne-re´[)i]-d[=e][s+]), the, 55, 69, 97, 247

Nereus (ne´r[=u]s), 55, 97, 198, 204, 269

Nes´sus, 225

Nes´tor, 179, 231, 237, 239; in Trojan War, 280, 285, 286, 294-297

Netherlands, 405, 406

Nibelheim (ne´bel-h[=a]m or ne´bel-h[=i]m), 412 _et seq._

Nibelung (ne´b[~e]-l[)oo]ng), Wagner's Ring of the, 410-430

Nibelungenlied (ne´b[~e]-l[)oo]ng´en-l[=e]t´), 405-409; theories of origin, 460, 461; _C. 283_

Niblungs (ne´bl[)oo]ng[s+]), Nibelungs (ne´-b[~e]-l[)oo]ngs), Nibelungen (ne´b[~e]-l[)oo]ng-en), 403-430; lay of the, 405-409, 460, 461; Wagner's Ring of the, 410-430; _C. 282, 283, 282-283_

Ni-can´der, _C. 298_

Nidhogg (n[=e]d´h[)o]g), 374

Niflheim (n[=e]v´'l-h[=a]m or n[)i]f´l-h[=i]m), 373, 374, 377, 379, 394; _C. 282-283_

Night, Nyx (n[)i]x), Nox, a prime element of Nature, 3, 4; mother of the Fates and of Nemesis, 38, 176, 196; family of, _C. 49_, table B

Ni´k[=e], 41. See _Victoria_

Nile, the river, 97, 180; _C. 149-154_

Nimrod and the giants, 440

Ni´nus, 148

Ni´o-be, 77, 170; the punishment of, 99-103; quotation from Landor's Niobe, 102, 103; genealogy, interpretation, etc., _C. 78_

Nirvana (n[=e]r-vä´na): annihilation, or absorption into the Infinite, of the Karma (human character, or soul) after it has passed through innumerable existences, and learned the virtuous life. See _Buddha_

Ni´sus, father of Scylla, 201, 202

Ni´sus, friend of Euryalus, 368-370

Noah and Deucalion, 440

No´m[)i]-[)o]s, No´m[)i]-us, an epithet applied to Apollo as the pasturer or herdsman; see 104-106, 110; _C. 30_ (In Art)

Nôrns, 374, 375, 388, 402; in Wagner's Ring, 424, 426

Norse gods, myths of, 2, 373-397; _C. 268-281_

Norse heroes, myths of, 398-405; _C. 268-282_

Norse mythology, narrative of, 373-405; records of, 457-460; translations and authorities, 458-460 notes, and _C. 268-282_

North American Indians, mental state of, 441; myths of, 448

Norway, Norsemen, 442, 448; _C. 268-281_

Nos´toi, the, 453

Nothung (no´t[)oo]ng), 418, 421-425

No´tus, 38

N[)o]x, Nyx (n[)i]x). See _Night_

N[=u]'ma Pom-pil´[)i]-us, 61, 63; _C. 28_

Nut (n[=oo]t). See _Egyptian divinities_ (1)

Nycteus (nik´t[=u]s), 75; _C. 62_

Nymphs, the, 45, 46, 97, 180, 189, 205; _C. 131_

Ny´sa, an ideal maiden in pastoral poetry

Ny´sa, Nysian-born (nish´[)i]-an), 258. Three cities bore the name of Nysa,--in Caria, in Palestine, and in India; the last is here referred to; _C. 42, 110-112_

Nysæan (ni-se´an) nymphs, 152

Nyx (n[)i]x), N[)o]x. See _Night_

O-a´sis or O´[.a]-sis, in Libya, oracle of Jupiter Ammon at, 20

Oblivion, valley of, 359, 360

Ocean, O-çe´[.a]-nus, the river, 3, 35, 42, 43, 327, 328

O-çe´[.a]-nids, 55, 58

O-çe´[.a]-nus, the Titan, 4, 5, 22; older dynasty of the waters, 55, 67, 68, 204, 207; _C. 4, 50-52_

Ocyrrhoë (o-s[)i]r´o-[=e]), 104

O´din, 373-377, 386-405 _passim_; in Wagner's Ring, 412-430; interpretation of, 437; _C. 268-281_

Odysseus (o-dis´[=u]s). See _Ulysses_ and _Odyssey_

Odyssey (od´[)i]-s[)i]), cited, 18, 35, 47, 51, and footnotes _passim_; hero of, 275, 276; narrative of, 318-345; Lang's sonnet, 318; a kind of myth, 433, 448; history of, 452; translations and authorities, _C. 231-244, 298_

[OE]chalia (e-ka´l[)i]-a), 225, 226; _C. 156-162_

[OE]dipus (ed´[)i]-pus), mentioned, 90, 206, 207, 455; myth of, 261-264, 268; and the Sphinx, 262; is made king, 262; at Colonus, 263; extracts from Plumptre's translation of Sophocles' [OE]dipus the King and [OE]dipus Coloneus, 262-264; _C. 182-189_

[OE]neus (e´n[=u]s), 225, 237

[OE]nomaüs (en-o-ma´us), 170, 171

[OE]none (e-no´n[=e]), 310, 432; _C. 221_

[OE]nopion (e-no´p[)i]-[)o]n), father of Merope and king of Chios. See _Orion_

[OE]te ([=e]'t[=e]), or [OE]'ta, Mount, 96, 226, 227; _C. 76, 156-162_

O-i´cl[=e][s+], father of Amphiaraüs and grandfather of Alcmæon

Oïleus (o-i´l[=u]s), 286

Olympian religion, the, 20; _C. 23_ and table A

Olympic Games, _C. 178-181_ (Textual)

O-lym´pus, Mount, 93, 97

O-lym´pus, home of the Greek gods of heaven, 2, 6; located and described, 18; Homer's conception of, 18, 19, 42; myths of greater gods of, 64-151; of lesser gods of, 172-180; dynasty of, dethroned, 181; _C. 22_

Om´ph[.a]-l[=e], 221

O-phi´[)o]n, _C. 4, 71_

[)O]ps, 59

Oracle, at Delphi, 5, 27, 42; at Dodona, 19, 20; of Jupiter Ammon in the Oasis, 20; of Trophonius, _C. 30_; of the dead, 51; of Apollo, consulted, 128, 130, 175, 315, 316, 347; _C. 24-25, 30_

Or-[-c]hom´e-n[)o]s, Or-[-c]hom´e-nus, 216; _C. 156-162_

Or´cus, 83. See _Pluto_

O´re-ads (O-re´[.a]-d[=e][s+]), 46, 186, 188, 192

O-res´t[=e][s+], 196, 268, 275, 315-317; _C. 190-194_ (2), _228-230_

Oriental mythology, records of, 462, 463

Origin, of the world, Greek, 3; of the gods, 4, 8; of man, 8, 9; Norse, 373, 374

O-ri´[)o]n, 41, 170; myth of, 122, 123; _C. 96_

Orithyia (or-[)i]-thi´ya), daughter of Erechtheus, king of Athens, loved by Boreas, 38, 39; _C. 38_ (9)

Or´m[)u]zd, 463

Orpheus (or´f[=u]s), 112, 206, 230, 232, 233, 242, 359, 451; and Eurydice, 165-168, 203; quotation from Landor's Orpheus and Eurydice, 167, 168; _C. 118_; cited, 3

Orphic hymns, 451

Or´th[)i]-a, _C. 32_. See _Diana_

Ortygia (or-tij´[)i]-a), 120; _C. 32, 93_

O-si´ris, 447. See _Egyptian divinities_ (1)

Os´sa, Mount, 93, 97; _C. 76_. It is in Thessaly. By piling Ossa on Pelion the Titans C[oe]us and Iapetus and the monster Typhoeus thrice attempted to scale Olympus, but were as often beaten back by the lightnings of Jove. See _Virgil, Georgics 1, 281_

Othrys (oth´ris), the mountain in Thessaly occupied by the Titans in their war with Jupiter and the other Olympians

Ot´ter, 400, 401

O´tus, 93

Ov´id (O-vid´[)i]-us), account of, and of his poems, 456, 457; references to his works, 54, 60, 65, 68, 72, 73, 79, 82, 84, 90, 92, 94, 96, 98, 102, 110, 112, 116, 117, 120, 123, 125, 126, 139, 141, 145, 147, 150, 153, 157, 159, 160, 165, 172, 175, 180, 188, 191, 195, 200, 202, 203, 207, 208, 215, 230, 233, 235, 237, 243, 246, 249, 250, 269; translations, _C. 299_; also of the Metamorphoses in 15 books by various authors, published by Sir Samuel Garth, in Vol. II of English Translations from Ancient and Modern Poems, 3 vols., London, 1810

Pac-to´lus, 158; _C. 110-112_

Pa´dus, or Po, the river, 359

Pæ´[.a]n, Pæ´[)o]n, Paiëon (pi-e´[)o]n), heals Mars, 86, 290; _C. 68_

Pæ´[.a]n, the chant, 26, 92; _C. 68_

Pakht (pä[.c]ht) and Bäst. See _Egyptian divinities_ (1)

P[.a]-læ´m[)o]n, 202. See _Melicertes_

Pal-[.a]-me´d[=e][s+], 279

Pa´l[=e][s+], 61

Pal-[)i]-n[=u]'rus, 352, 355; _C. 245-254_

Pal-la´d[)i]-um, the, 310, 314; _C. 27_

Pal´l[.a]s, Athena, 7, 23; _C. 27_. See _Minerva_

Pal´l[.a]s, a Giant, 7

Pal´l[.a]s, son of Evander, 365-367, 371, 372

Pan, described, 45; Pandean pipes, 66, 67; contest with Apollo, 110, 111; father of Silenus, 152; P. and the personification of nature, 181-187; extracts from Milton, Schiller, Mrs. Browning, reference to Wordsworth, 181-183; E. C. Stedman's Pan in Wall Street, 183-185; love of Echo, 189; in Buchanan's Naiad, 190; P. and Pomona, 195; _C. 43, 54, 57, 129-130, 131_

Pan-ath-e-næ´a, _C. 27, 176-181_

Pan´d[.a]-rus, 289; _C. 196_

Pan-de´m[)o]s, _C. 34_. See _Venus_

Pan-di´[)o]n, 249; _C. 148_ (4), _174_

Pan-do´ra, 2; creation of, 11, 25; wife of Epimetheus, her casket, 11; _C. 10-15_

Pan´dro-s[)o]s, daughter of Cecrops. See _Herse_

Pan´o-p[=e], 88; _C. 70_

Pan´o-p[=e], a Nereid, 55; _C. 50-52_

Pa´ph[)i]-an, 128; _C. 34_. See _Venus_

Pa´ph[)o]s, 32, 126, 147, 149; _C. 34, 100_

Papyri (p[.a]-p[=i]'r[=i]), the sacred, 462

Parcæ (pär´s[=e]), M[oe]ræ (m[=e]'r[=e]). See _Fates_

P[)a]r´is (should be P[=a]'ris, by rule), 276, 296; the judgment of, 278, 350; P. and Helen, 278, 279, 289, 313; and Menelaüs, 286-289; and Achilles, 308; and [OE]none, 309, 310; _C. 190-194_ (5), _195, 207, 221_

Pär-nas´sus, Mount, in Phocis, 26, 27, 97, 112; _C. 30, 38_ (4), _76_

Pa´r[)o]s, 198

Pär-the´n[)i]-us, _C. 298_

Pär´the-n[)o]n, _C. 4, 24-25, 27, 38_ (10), _40, 48, 176-181_

Pär-then-o-pæ´us, 265

Pär-then´o-p[=e], 205, 329

Pär´the-n[)o]s, the Virgin, a title of Athene

Parvati (pär´w[.a]-t[=e] or pär´v[.a]-t[=e]). See _Hindu divinities_ (2)

Pasiphaë (p[.a]-sif´a-[=e]), 246; _C. 172_

P[.a]-sith´e-a. (1) A Nereid. (2) One of the Graces

P[.a]-tro´clus or Pat´ro-clus, 275, 296-299, 303; _C. 190-194_ (4), _207_

Patronymics, _C. 77_

Pau-sa´n[)i]-[.a]s, 455; references to, 75, 125, 180, 207, 208, 241, 246, 249, 265, 268; _C. 26_

Peg´[.a]-sus, myth of, 211, 214, 215; _C. 155_

Peitho (pi´tho), Suadela (sw[.a]-d[=e]'la), goddess of Persuasion

Pe-la´[.g][)i]-a, _C. 34_. See _Venus_

Pe-las´[.g]ic division of the Greeks, 16

Pe-las´[=g]us, son or grandson of Phoroneus, 17, 206, 207; _C. 21, 57_, table D

Peleus (pe´l[=u]s), 206, 225, 231, 237, 239, 274; myth of Peleus and Thetis, 269-272, 277, 279; translation of Catullus, LXIV, by C. M. Gayley, 269-272, family of Peleus, 275, 276; _C. 190-194_ (1), _199_

Pe´l[)i]-[.a]s, 106, 170, 230, 233; daughters of, 235, _C. 83_

Pe-li´d[=e][s+], 272; _C. 77_

Pe´l[)i]-[)o]n, Mount, 93, 111, 271, 274; _C. 76_. See _Ossa_

Pel-o-pon-ne´sus, 16, 207

Pe´lops, 99, 206, 250, 434; and Hippodamia, 170, 171, 275; genealogy, etc., _C. 78, 190-194_ (2)

Pe-na´t[=e][s+], described, 61, 62

Pe-nel´o-p[=e], 275, 276, 279, 328, 338-344; _C. 190-194_ (3), (4), _231-244_

Pe-ne´us river, 111, 113, 218, 271; _C. 85-86_

Pen-thes-[)i]-le´a, 307

Pentheus (pen´th[=u]s), 89, 152-156, 261; _C. 110-112, 182-189_, table N

Pe-phre´d[=o], one of the Grææ

P[~e]r´dix, 248

P[)e]r-[)i]-e´r[=e][s+], _C. 148_ (2), (5)

P[)e]r-[)i]-phe´t[=e][s+] or P[)e]r-[)i]-pha´t[=e][s+], 251; _C. 176-181_

P[~e]r-se´is, daughter of Perses, wife of Helios, and mother of Pasiphaë, Ariadne, Phædra, and Æëtes, _C. 125_, table H

P[~e]r-seph´o-n[=e], 53, 127, 327. See _Proserpina_

Perseus (p[~e]r´s[=u]s), 17, 206; myth of, 208-214; and Medusa, 208-211; and Atlas, 211; and Andromeda, 211-214, 215, 216; and Acrisius, 214; lines from Kingsley and Milman, 212, 213; _C. 149-154_

Persia, 448; records of myth, 463; studies on, _C. 304_

Personification, to-day, 434; among savages, 435

Pes´s[)i]-nus, Pes´[)i]-nus, _C. 41_

Pet´[.a]-sus, the, 34

Phæacia (fe-a´sh[)i]-a), 332-338; Lang's Song of, 335, 336; _C. 231-244_

Phæ´dra, 259, 260, 328; _C. 172_, table L; _176-181_ (Illustr.)

Phæ´drus, 2

Pha´e-th[)o]n, Pha´e-t[)o]n, myth of, 94-98, 432; _C. 76_

Pha-e-th[=u]´sa, 330

Phan´t[.a]-sus, son of Somnus, _C. 125_. See _Sleep_

Pha´[)o]n, 139; myth of, 149, 454; _C. 107_

Pha´r[)o]s, island, 203; _C. 145_

Phar-sa´lus, a city in Thessaly; Phar-sa´l[)i]-a, the region thereabout

Pha´sis, the river, 223; _C. 156-162_

Phe´ræ, capital of Thessalia Pelasgiotis, home of Admetus

Phid´[)i]-[.a]s, Olympian Jove of, 21; Homer's lines in Iliad, 21; _C. 27, 38_ (10), _64_

Ph[)i]-le´m[)o]n and Bau´çis, myth of, 77-80; Swift's burlesque, 79, 80

Phil-oc-te´t[=e][s+], 227, 309, 453; _C. 219-220_

Phil-o-me´la, 249, 250; _C. 174_

Phineus (fi´n[=u]s), 213, 231, 348; _C. 163-167_

Phle[=g]'e-th[)o]n, 47, 356

Pho´b[)o]s or Ph[)o]b´[)o]s, Fear, son and attendant of Mars, 24

Pho´çis, 249, 315

Ph[oe]'b[=e] (the shining one), a name of Diana, 138; _C. 32, 98_

Ph[oe]'b[=e], one of the Titans, 64; _C. 4_

Ph[oe]'bus, _C. 28, 30_. See _Apollo_

Ph[oe]nicians (fe-nish´ans) as disseminators of cults, 20

Ph[oe]'nix, 274, 294

Pho´lus, 217

Phor´b[.a]s, 352

Phorcys (fôr´sis) and Çe´t[=o], offspring of, 57, 201

Phoroneus (fo-ro´n[=u]s), son of Inachus, 17, 207; _C. 57_, table D

Phos´phor, 40, 172, 175

Phrixus (frix´us), 229, 230; _C. 163-167_ (Interpret.)

Phrygia (frij´[)i]-a), 77, 99, 152, 223, 448; _C. 63_

Phtha (fthä), Ptah (p´tä). See _Egyptian divinities_ (1)

Phthia (thi´a), 269, 274

Phyllis (fil´is), an ideal maiden of pastoral poetry

Pi-[)e]r´[)i]-d[=e][s+]: the Muses as daughters of Pierus, king of Thessaly, or as frequenters of Mount Pierus

Pi´[~e]r-us, Mount, in Thessaly, 150; _C. 109_

Pillars of Hercules, 219; _C. 156-162_

Pin´d[.a]r (Pin´d[.a]-rus), 453, 454; references to, 51, 170, 180; translations, _C. 298_

Pin´dus, Mount, 97; _C. 76_

Pip-le´a, 223

Pi-ræ´us, 253

Pi-re´n[=e], a fountain in Corinth, said to have started from the ground (like Hippocrene) under a kick of Pegasus, 215

Pi-rith´o-us, 237, 243, 258, 259

P[)i]-sis´tr[.a]-tus, 452

Pittheus (pit´th[=u]s), 251; _C. 78_, table F; _148_ (5) B, table I; _174_, table M; _190-194_ (2), table O

Pleasure, 136

Pleiads (ple´yads), Pleiades (ple´y[.a]-d[=e][s+] or ple-i´[.a]-d[=e][s+]), daughters of Atlas, 57, 180; myth of, 123, 124; _C. 97_

Plenty, goddess of, 204

Plex-ip´pus, 238, 240

Plutarch (pl[=oo]'tärk), referred to, 250, 252

Pluto (pl[=oo]'t[=o]), A´[)i]-d[=e][s+], A´d[=e][s+], Ha´d[=e][s+], 5, 6, 20, 234, 355; his abode, 47-50, 353; attributes, 52, 53; the Roman Orcus, 53, 59; and Æsculapius, 104; carries off Proserpine, 159, 160; mollified by Orpheus, 166; and Neptune, 170; helmet of, 209; and Hercules, 220; Theseus and Pirithoüs, 259; _C. 47_

Plutus (pl[=oo]'tus), _C. 47_

P[oe]as (pe´[.a]s), 227

P[oe]na (pe´na). (1) Greek, an attendant, with Di´ke and Erinys, of Nemesis. (2) Latin, goddess of punishment. P[oe]næ: sometimes the Furies

Poets of mythology, in Greece, 451-455; in Rome, 456, 457; _C. 298, 299_. See, in general, under _Myth, Preservation of_

Po-li´t[=e][s+], 312

Pol´lux, Polydeuces (pol-[)i]-d[=u]´s[=e][s+]), 206, 230, 237, 242-245, 275, 289; _C. 190-194_ (3)

Pol-y-bo´t[=e][s+], _C. 8_

Pol´y-bus, 261, 262

Pol-y-cli´tus, Pol-y-cle´tus, 81; _C. 26, 64_

Pol-y-de[-c]'t[=e][s+], 208; punished by Perseus, 213

Pol-y-de[-c]'t[=e][s+], a name applied to Pluto, _C. 47_

Pol´y-döre (Pol-y-do´rus), son of Cadmus, 89, 261; _C. 182-189_, table N

Pol´y-döre (Pol-y-do´rus), son of Priam, 347

Pol-y-hym´n[)i]-a (Po-lym´n[)i]-a), the muse of sacred poetry, 37; _C. 38_ (4)

Pol-y-i´dus, 215

Polynesian (pol-[)i]-ne´shan) savages, mental development of, 441; myths among, 447, 449

Pol-y-ni´ç[=e][s+], 264, 265, 266, 268; _C. 182-189_, table N

Pol-y-phe´mus, 170; and Galatea, Lang's translation of Theocritus, Idyls VI and XI, 198-200; P. and Ulysses, 320-323; and Æneas, 349; _C. 141, 231-244_

Pol-y-phon´t[=e], 150

Pol-y-phon´t[=e][s+], 241

Polyxena (po-lix´e-na), 272, 276, 307, 313; _C. 190-194_ (5), _219-220_

Po-mo´na, quotation from Macaulay's Prophecy of Capys, 61; and Vertumnus, myth of, extract from Thomson's Seasons, 195; _C. 54, 139_

Pon´tus, region near the Black Sea, Ovid's Letters from, 456

Pon´tus, a sea-god, 55, 201

Porphyrion (pôr-f[)i]r´[)i]-[)o]n), a Giant, 7

Pôr-tha´[)o]n, genealogy of, _C. 148_ (3), (5), _168_

Pôr-tum´nus, 202. See _Melicertes_

Poseidon (po-si´d[)o]n). See _Neptune_

Prax-it´[='e]-l[=e][s+], a Greek sculptor, _C. 35, 36, 38_ (1), _54, 100, 131_

Pri´am (Pri´[.a]-mus), 179, 225, 276; in Trojan War, 278-307, 312, 313; _C. 190-194_ (5), _207, 216_

Pri-a´pus, a Roman god of increase, promoter of horticulture and viticulture

Prithivi (pr[)i]-t[=e]'v[)i]). See _Hindu divinities_ (1)

Proc´n[=e], Prog´n[=e], 249, 250; _C. 174_

Pro´cris, 172-175; Dobson's Death of, 174, 175, 328; _C. 123-124_

Pro-crus´t[=e][s+], 170, 251

Prod´[)i]-cus of Chios, a contemporary of Socrates; author of the story of the Choice of Hercules

Pr[oe]tus (pr[=e]'tus), 214

Progress, theory of, in mythology, 436, 440-446

Prometheus (pro-me´th[=u]s), 2, 6, 206, 207, 269, 271, 455; a creator, 8, 10 _n_; champion of man, 10; chained on Mount Caucasus, 11, 225; his secret, 11, 12; quotations from G. C. Lodge, Byron, and Longfellow, 12-15; _C. 10-15_

Propertius (pro-p[~e]r´sh[)i]-us), 457

Pro-s[~e]r´p[)i]-na, Pros´[~e]r-p[)i]ne, P[~e]r-seph´o-n[=e], 20, 43, 44, 234, 318; Swinburne's Garden of Proserpine, 49, 50; attributes, 53; the Roman Libera, 59; P. and Psyche, 134, 135; the rape of, 159, 160; Shelley's Song of Proserpine, 160; Ceres' search for, 160-163; quotation from G. E. Woodberry's Proserpine, 163, 164; mollified by Orpheus, 166; Theseus' attempt to abduct, 220; Æneas, 354; _C. 48, 114-117_

Pro-tes-[)i]-la´us, 282. See _Laodamia_

Proteus (pro´t[=u]s), 56, 58; and Aristæus, 202, 203; _C. 50-52_ and table C; _145_

Psamathe (sam´[.a]-th[=e]), 103

Pseudo-M[=u]-sæ´us, _C. 104_. See _Musæus_

Psyche (si´k[=e]), myth of, 128-139, 457; extracts from William Morris' Earthly Paradise, 131, 135; Bridge's Eros and Psyche, 132; Pater's Marius, 133; T. K. Hervey's Cupid and Psyche, 136, 137; Keats' Psyche, 137-139; _C. 101-102_

Psychopompus (si-ko-pom´pus): Mercury as guide of ghosts to the underworld, 35, 47; _C. 36_

Ptah (p´tä). See _Egyptian divinities_ (1)

Purpose of this work, 1

Py-[.a]-nep´s[)i]-a, _C. 30_

Pygmalion (pig-ma´l[)i]-[)o]n), fabled sculptor, 139; and the statue, 145-147; extracts from Lang's New Pygmalion, 145, 146, 147; from William Morris' Pygmalion and the Image, 146, 147; _C. 105_

Pygmalion (pig-ma´l[)i]-[)o]n), king of Tyre, 351

Pygmies, 221; _C. 156-162_

Pylades (pil´[.a]-d[=e]s), 315, 316; _C. 228-230_

Py´l[)o]s, 150, 225, 285, 452; _C. 109, 156-162_

Pyramus (p[)i]r´[.a]-mus), 139; and Thisbe, 147-149; _C. 106_

Pyriphlegethon (p[)i]r-[)i]-fle[=g]'e-th[)o]n), 327. See _Phlegethon_

Pyrrha (p[)i]r´a) and Deucalion, 16, 207; _C. 19-20_; genealogy, _148_ (5)

Pyrrhus (p[)i]r´us), or Ne-op-tol´e-mus, 312, 313; _C. 190-194_ (1). See _Neoptolemus_

Pythagoras (p[)i]-thag´o-r[.a]s), a philosopher of Samos, about 550 B.C.; his doctrine of metempsychosis, 360 and _C. 255-257_

Pythia (pith´[)i]-a), _C. 30, 32_. See _Diana_

Pythian Games, 27; _C. 176-181_ (Textual)

Py´th[)o]n, 26, 92; _C. 30, 74_

Pythoness (pith´o-ness), _C. 30_

Qu[)i]-ri´nus, 61

Rä. See _Egyptian divinities_ (1)

R[.a]g´n[.a]-r[)o]k´, 394

Rakshasas (r[)u]k´sh[.a]-s[.a][s+]). See _Hindu divinities_ (1)

Râmâyana (rä-mä´y[.a]-n[.a]), 462, 463; compared with Iliad, 463; paraphrase of, _C. 303_

Râvana (rä´v[.a]-n[.a]), 463

Re-[.g]il´lus, 243

Regin (r[=a]'g[)i]n), 400, 401

Reim-thursar (r[=a]m´th[~e]r-sär), Rime or Frost giants. See _Hrim-thursar_

Re´mus, 372

Rerir (r[=a]'r[=e]r), 398

Rhadamanthus (rad-[.a]-man´thus), 51, 53, 216, 357; son of Europa, 71, 246; _C. 255-257_

Rhamnusia (ram-n[=u]´sh[)i]-a): Nemesis, from Rhamnus in Attica, where she was specially worshiped

Rhapsodists, the, 452

Rhea (re´a), 4, 5, 19, 44, 152; the Roman Magna Mater, 59; _C. 4, 41, 110-112, 146-147_. See _Cybele_

Rhine, 404-406, 409, 410-430 _passim_

Rhine-daughters, in Wagner's Ring, 410, 411, 416, 427-430

Rhine-gold, Wagner's opera of the, 410-416

Rhodope (rod´o-p[=e]), a mountain range in Thrace, 97; _C. 76_

Rhodope (rod´o-p[=e]), A´c[)o]n and, Landor's poem, _C. 138_

Rh[oe]cus, (re´kus), myth of, 193, 194; extracts from Lowell's Rh[oe]cus, 193, 194; _C. 138_

Rh[oe]tus (re´tus), _C. 8_

Ring of the Nibelung, Wagner's, 410-430

R[)i]´sh[)i][s+], 462

River ocean, 3. See _Ocean_

Rock, the White, 47

Rod´mär, 400, 401

Roman divinities, 2, 3, 59-63

Rome, 365, 366, 372, 448, 456

Rom´[=u]-lus, 60, 372; as Quirinus, 61

Runes, 375, 394, 413, 457, 458; _C. 300_

Russians, 448

Rut´[=u]-l[=i], Rutulians (r[=oo]-t[=oo]'l[)i]-ans), 362, 365-370

Rymer (r[=e]'m[~e]r), 396

S[.a]-bri´na, a nymph in Milton's Comus, 204

Sæmund (s[=a]'m[=oo]nd) the Wise, 459

Sä´g[.a][s+], the, 460; of the Volsungs, 398-405, 460; _C. 282_

Sal´[.a]-mis, 308

Sa´l[)i]-[=i], _C. 28_

Salmoneus (sal-mo´n[=u]s), 357

Sa´m[)o]s, 247; _C. 34_

Sam-o-thra´ç[=e], or Samothracia (sam-o-thra´sh[)i]-a), an island near the coast of Thrace, 242

Samson and Hercules, 440

Sanskrit, studies and translations, _C. 303_

Sappho (saf´o), 149, 453, 454; _C. 107_

Saramâ (s[.a]-r[.a]'mä), _C. 36_

Sarameyas (s[.a]-r[.a]-m[=a]'y[.a]s), _C. 36_

Sarasvati (s[)a]r´[.a]s-w[.a]-t[=e]). See _Hindu divinities_ (2)

Sär-pe´d[)o]n, son of Jove and Europa, 71

Sär-pe´d[)o]n, son of Jove and Laodamia, in the Trojan War, 280, 290, 298

Sat´urn (S[.a]-tur´nus), the attempts to identify Cronus and, 59; his rule in Latium, 59, 362, 366; _C. 4, 54_

Sat-ur-na´l[)i]-a, 59

S[.a]-tur´n[)i]-a, 366

Satyrs (s[)a]t´[~e]rs or s[=a]'t[~e]rs), 44, 152, 189, 190, 195, 258; described, 46, 186; extract from R. Buchanan's Satyr, 186, 187; _C. 131_

S[)a]v´[)i]-t[.a]r. See _Hindu divinities_ (1)

Sc[.a]-man´d[~e]r, 272

S[-c]he´r[)i]-a, 332

Sch[oe]neus (ske´n[=u]s), 139

Sco´p[)a]s, a Greek sculptor of Paros, first half of the 4th century B.C.; he made the Niobe group; see also _C. 42, 78, 131_

Scylla (sil´a), described, 57, 255; and Glaucus, 200, 201; and Nisus, 201, 202; and Ulysses, 329, 330; and Æneas, 350; _C. 50-52_ and table C; _142, 231-244_

Scyros (si´r[)o]s), 260, 270, 279

Scythia (sith´[)i]-a), 97, 192, 316; _C. 76_

Sea. See _Waters_

Sea-monsters, and Hesione, 170; and Andromeda, 212. See _Waters, Greek gods of_

S[)e]b. See _Egyptian divinities_ (1)

S[)e]-le´n[=e], 29, 39, 43, 117; and Endymion, 124, 125; _C. 98_. See _Diana_

Sem´e-l[=e], 44, 64, 89, 152; myth of, 71-73, 261, 288; E. R. Sill's poem, Semele, 72, 73; _C. 42, 60_

S[)e]-m[)i]r´[.a]-mis, 147; _C. 106_

S[)e]-mit´ic races, 448

Sem´næ. See _Furies_

Sen´e-ca, 457; references to tragedies of, 215

Se-ra´pis, S[.a]-ra´pis. See _Egyptian divinities_ (1)

Serimnir (s[=a]-r[=e]m´n[=e]r), 376, 388

S[)e]-ri´phus, 208, 213; _C. 149-154_

Ses´t[)o]s, 142

S[)e]t or Seth (s[)e]t). See _Egyptian divinities_ (1)

Shu (sh[=oo]). See _Egyptian divinities_ (1)

Sibyl (sib´il), 352-361; _C. 245-254_

S[)i]-[-c]hæ´us, 351

Sicily, 118, 161, 201, 247, 349, 350, 352

Sicyon (sish´[)i]-[)o]n), or Me-co´n[=e], 10; _C. 10-15_

Siegelind (s[=e][=g]'[~e]-lind), 405; in Wagner's Ring, 416-421

Siegfried (s[=e][=g]'fr[=e]d), 405-409, 420-429; Wagner's opera of, 421-426; _C. 282-283_

Sieglinde (s[=e][=g]'lin-d[~e]), 416-421. See _Siegelind_

Siegmund (s[=e][=g]'mund), 405, 416-421. See _Sigmund_

Siggeir (s[)i][=g]'g[=a]r), 398-400

Sigi (s[=e]'[=g][=e]), 398, 405

S[)i][=g]'mund, 398-401, 405; in Wagner's Ring, 416-421

Signy (s[)i][=g]'n[=e]), 398-400

Siguna (s[=e]-g[=oo]'na), 393

Sigurd (z[=e]'g[)oo]rt), 400-405, 450 _n_; _C. 282, 282-283_. See _Siegfried_

Si-le´n[=i], 44, 186, 258; _C. 113_

Si-le´nus, 152, 157, 185, 186, 187; _C. 113, 131_

Sil-va´nus. See _Sylvanus_

Silver Age, the, 10

Sil´v[)i]-a, 363

Si-mon´[)i]-d[=e][s+] of Çe´[)o]s, 208, 453, 454

Sinfiotli (sin´fy[='o]t-l[=e]), 399, 400

Si´n[)o]n, 311, 312; _C. 223_

Si´rens, described, 57, 205, 232, 233; and Ulysses, 328, 329; _C. 50-52_ and table C; _231-244_

S[)i]r´[)i]-us, 123

S[)i]s´y-phus, 214, 229; betrays Jove, 73; marries Merope, 124; in Tartarus, 166, 200, 358; _C. 118, 255-257_; genealogy, _103_, table G, _148_ (2), (5)

Sita (se´ta), 463

Siva (se´va). See _Hindu divinities_ (2)

Sk[a:]ldic poetry, Sk[a:]lds, 457, 458

Skidbladnir (skid-bläd´n[=e]r), 394

Skirnir's Journey (sk[)i]r´n[=e]r), 386, 460

Skrymir (skr[=e]'m[=e]r), 380, 381

Skuld (sk[)oo]ld), 374

Sleep (Som´nus, Hyp´nos), 54, 298, 352; cave of, 176; _C. 49, 125_

Sleipnir (sl[=a]p´n[=e]r), 388-391, 401

Smintheus (smin´th[=u]s), Apollo, _C. 30, 89_

Smin´th[)i]-a, _C. 30_

Smyrna (sm[=e]r´na), 452

S[)o]l (He´lios), 61, 63

So´ma. See _Hindu divinities_ (1)

Som´nus. See _Sleep_

Soph´o-cl[=e][s+], 455; references to, 47, 215, 227, 228, 261, 266, 267, 268, 308, 309, 315; translations, _C. 298_

So´phr[)o]n, _C. 42_

South American savages, mental state of, 441

Spär´ta (Laç-e-dæ´m[)o]n), 22, 23, 225, 242, 243, 275, 289, 314

Sphinx, 262; _C. 182-189_

Sri (sr[=e]). See _Hindu divinities_ (2)

Stars, the, 172, 175; _C. 125_, table H

Statius (sta´sh[)i]-us), references to the Thebaid of, 141, 265; to the Silvæ, 196; to the Achilleid, 269, 308; _C. 299_

St[)e]r´o-p[=e], one of the Pleiads

St[)e]r´o-p[=e][s+], _C. 4_

Ste-si[-c]h´o-rus, 313, 453

Stheneb[oe]a (sthen-e-be´a), or Sthenob[oe]a, daughter of Iobates, enamored of Bellerophon

Sthen´e-lus, 110

Sthe´no, daughter of Phorcys and Ceto; one of the Gorgons

Stro´ph[)i]-us, 315

Stry´m[)o]n, 168; _C. 118_

Sturlason, Snorri (sn[)o]r´r[=e] st[=oo]r´l[.a]-sun), connection with the Prose Edda, 459; _C. 268-281_

Stym-pha´l[)i]-an birds, 218; and lake, _C. 156-162_

Styx (st[)i]x), 47, 71, 94, 151, 189, 274, 308, 327; _C. 44-46, 49_

Suadela (sw[.a]-de´la). See _Peitho_

Sun, cattle of the, 328, 330. See _Helios_ and _Sol_

Sun-myth, 432, 435

Surter (s[)oo]r´t[~e]r), 395

Survival, theory of myth, 442

Surya (s[=oo]r´ya). See _Hindu divinities_ (1)

Svadilfari (swä-dil-f[.a]'r[=e]), 378, 379

Swanhild (sw[)o]n´h[)i]ld), 405

Syl´v[.a]ns, 186

Syl-va´nus, 61, 195

Sym-ple[=g]'[.a]-de[s+], 231; _C. 163-167_ (Interpret.)

Syr´inx and Pan, 66, 67; _C. 43, 57_

Syrtis (s[~e]r´tis), 255

Tænarus (ten´[.a]-rus), or Tænarum, 51, 166; _C. 118_

Ta´gus, 97

Ta´lus, 242, 243; _C. 170-171_

Tan´a-is river, 97; _C. 76_

Tan´t[.a]-lus, 77, 99, 166, 275, 358; _C. 78_ and table I; _118, 255-257_

Tär´[-c]h[)o]n, 367

Tärn´helm, 414, 415, 423, 427, 428

Tärn´käp-p[~e], 406

Tarpeian (t[.a]r-pe´y[.a]n) Rock, 366

Tär´t[.a]-rus, 5, 6, 7, 51, 97, 159, 357; name of Pluto, 53; _C. 44-46_

Tau´r[=i], Tau´r[)i]-ans, a people of what is now the Crimea; Iphigenia among the Taurians, 281, 316; _C. 196_

Tau´rus, Mount, 96, 253; _C. 76_

Tel´[.a]-m[)o]n, 75, 222, 225, 237, 239, 276, 280; _C. 190-194_ (1)

Te-lem´[.a]-[-c]hus, 279, 314, 328, 339-345; _C. 190-194_ (4), _231-244_

Tel´e-phus, son of Hercules and Au´g[=e]; wounded by Achilles, but cured by the rust of the spear

Tel´lus, 59, 233. See _Gæa_

Tem´p[=e], a vale in Thessaly, through which ran the river Peneüs, III, 270; _C. 38_ (4)

Ten´e-d[)o]s, 113; _C. 89_

Tereus (te´r[=u]s), 249

T[~e]r´m[)i]-nus, 61

T[~e]r-pan´der, _C. 26_

T[~e]rp-si[-c]h´o-r[=e], the muse of choral dance and song, 37; _C. 38_ (4)

T[)e]r´ra. See _Earth_ and _Gæa_

Tethys (te´this), 4, 22, 55, 67, 204; _C. 4_

Teucer (t[=u]´s[~e]r), son of the river-god Scamander and the nymph Idæa; first king of Troy; _C. 190-194_ (5)

Teucer (t[=u]´s[~e]r), son of Telamon and Hesione, 276; _C. 190-194_ (1), (5), _207_

Teucri (t[=u]'cr[=i]): the Trojans

Th[.a]-las´s[)i]-[)o]s: an epithet applied to Hymen because he brought safely over the sea to their home a shipload of kidnaped Athenian maidens

Th[.a]-li´a, one of the Graces, 36

Th[.a]-li´a, the muse of comedy, 37

Tham´y-ris, or Tham´y-r[.a]s, 451

Than´[.a]-t[)o]s, Mors. See _Death_

Th[:a]r-[.g]e´l[)i]-a, _C. 30_

Thau´m[)a]s, father of the Harpies and of Iris, 57; _C. 50-52_, table C

The´a, 4; _C. 4_

The-a[.g]'e-ne[s+] of Rhegium (re´ji-um), 439

The´ba-is, an epic by Statius on the Seven against Thebes; Pope's translation, _C. 299_. See _Statius_

Thebes (th[=e]b[s+]), Th[=e]'bæ, in B[oe]otia, 71, 75, 207, 216; founded, 87, 89, _C. 70_; Bacchus at, 153-155; misfortunes of, 261, 262, 265-268; _C. 110-112_

Thebes (th[=e]b[s+]), The´bæ, in Egypt, 20

Thebes (th[=e]b[s+]), the Seven against, 206, 264, 265-268, 453, 455

The´mis, 4; attributes of, 38; _C. 4, 18_

The-oc´r[)i]-tus, 215, 243, 455; selections from translations by Lang of various idyls, 198-200, 222, 223; Lityerses song, 224; _C. 298_. See _Andrew Lang_ and _Calverley_, in Index of Modern Authors

Th[~e]r-san´der, 268

Th[~e]r-si´t[=e][s+], 286, 307

Theseus (the´s[=u]s), 17, 168, 206, 220, 231, 235, 237, 239, 243, 246, 263, 275; myth of, 250-260; early adventures, 251, 252; and Ariadne, 252 _et seq._, 270; translation of Catullus, LXIV, by C. M. Gayley, 253-257; later adventures, 258-260; _C. 174, 176-181_

Thes-mo-pho´r[)i]-a, _C. 114-117_

Thes´p[)i]-æ, lion of, 216; _C. 156-162_

Thes´s[.a]-ly, 6, 104, 110, 175, 192, 193, 206, 207, 214, 229, 231, 258, 269

Thes´t[)i]-us, 275; _C. 148_ (3), (5), _168_

Thes´ty-lis, a maid in the pastorals of Theocritus and Virgil

The´tis, the Nereïd, 55, 90, 198, 205, 269-272, 277, 279, 285, 299, 300, 304, 308; _C. 10-15, 50-52_, table C, _190-194_ (1)

Thialfi (th[+e]-äl´f[=e]), 380, 383, 385

Thi[s+]'b[=e], 147-149; _C. 106_

Th[)o]k, 392

Thôr, 376, 432, 460; deeds of, 378-386, 393-396; recovery of his hammer, 379, 380; visit to Jötunheim, 380-386; as Donner in Wagner's Ring, 412, 415; _C. 268-281_

Thoth (th[)o]th or t[=o]t). See _Egyptian divinities_ (2)

Thrace, 24, 218, 231, 249, 347

Three Daughters of King O´Hara; analogy of incident, _C. 101-102, 118, 149-154_

Thrinacia (thr[)i]-na´sh[)i]-a), 328, 330. See _Trinacria_

Thrym (thrüm), 379, 380

Thucydides (th[=u]-sid´[)i]-d[=e][s+]), _C. 61_

Thy-es´t[=e][s+], 275, 314; _C. 190-194_ (2)

Thy-i´[.a]-d[=e][s+], _C. 42_. See _Bacchus_

Thy-o´n[=e], _C. 34_

Thyrsis (th[~e]r´sis), an ideal shepherd of Greek pastoral poetry. See _Theocritus, Idyl 1_; _Virgil, Bucolics 7_; and _M. Arnold's elegy_

Thyrsus (th[~e]r´sus), the, 45, 153, 156; _C. 110-112_

Ti´ber, 362, 365

Ti´ber, Father, the river-god, 62, 365

T[)i]-bul´lus, 457; reference to, 200

Time, 3

Tiresias (ti-re´sh[)i]-[)a]s or ti-re´s[)i]-[)a]s), 266, 268, 327, 328, 330, 451; _C. 182-189, 231-244_

Tiryns (ti´rins), a city in Argolis, where Hercules was brought up

T[)i]-siph´o-n[=e], 54, 357

Ti´t[.a]ns, 4, 5, 7; war of, 5, 6; in Tartarus, 51, 357; in the Fortunate Isles, 52; _C. 4_

T[)i]-tho´nus, and Aurora, 177, 179; Tennyson's poem, 177-179; family connections, 276, 280; _C. 126-127, 190-194_ (5)

Tit´y-rus, an ideal goatherd of Greek and Latin pastorals. See _Theocritus, Idyl 3_, and _Virgil, Bucolics 1_

Tit´y-us, slain by Apollo, 27, 92, 357; _C. 74_

Tmo´lus, Mount, 96, 110, 111; _C. 76_

To´m[=i], 456

Toxeus (tox´[=u]s), 238, 240

Tra´[-c]his, 175

Tragic poets of Greece, 455

Trident, Neptune's, 56, 170

Tr[)i]-na´cr[)i]-a, Thr[)i]-na´cr[)i]-a, Thrinacia (thr[)i]-na´sh[)i]-a): the island of Sicily, having three promontories

Trip-tol´e-mus, 161; and the Eleusinian mysteries, 164, 165

Tris´t[)i]-a, Ovid's, 456

Trit-o-[.g]e-ne´a, Tr[)i]-t[=o]'n[)i]-a: an epithet of Minerva (Athene), meaning born near Lake Tritonis, or headborn, or born on the third day

Tri´t[)o]n, 56, 58, 204, 350

Tri´t[)o]ns, the, 70

Triv´[)i]-a, Hecate, or Diana of the Crossways, 54

Tr[oe]zen (tre´zen), a city in Argolis, 251; _C. 176-181_

Tro´[)i]-lus, son of Priam, killed by Achilles, 276; _C. 190-194_ (5), _196_

Trojan War, mentioned, 75, 84, 86, 98, 179, 206, 237, 259, 265, 451, 452, 455; houses concerned in, 269-276; origin, 277-279; narrative of, 279-306; fall of Troy, 307-312; survivors of the war, 313-317

Tro-pho´n[)i]-us, oracle of, _C. 30_

Tr[=o]s, son of Erichthonius of Troy, and grandson of Dardanus, _C. 190-194_ (5)

Troy, 23, 110, 169, 170, 177, 206, 225; royal family of, 276, _C. 190-194_ (5); the war at, 277-313 and _passim_; _C. 119-120, 195, 228-230_

T[=u]'b[.a]l, 440

Tubal-Cain (t[=u]'b[.a]l-c[=a]n´), 440

Tur´nus, 362-364, 367-372

Twelve Brothers, story of the; analogy of incident, _C. 101-102_

Twilight of the Gods, Wagner's opera of the, 426-430

Ty-a´ne-an, 79; _C. 63_

Ty´[-c]h[=e]. See _Fortuna_

Tydeus (ti´d[=u]s), 84, 265, 280; _C. 168_, table K

Tydides (t[)i]-di´d[=e][s+]), _C. 77_. See _Diomede_

Tyndareus (tin-da´re-us), or Tyndarus (tin´d[.a]-rus), 242, 269, 338; family of, 275, _C. 190-194_ (3)

Tyndaridæ (tin-d[)a]r´[)i]-d[=e]), Castor and Pollux, 243; _C. 76_

Tyndaris (tin´d[.a]-ris): patronymic of a female descendant of Tyndareus; Helen or Clytemnestra; _C. 77_

Typhoeus (ti-fo´[=u]s), youngest son of Gæa, later identified with Typhon

Ty´ph[)o]n, 6, 7, 350; also called the son of Typhoeus and a hurricane; _C. 8_

Tyr (t[=e]r), or Z[)i][=u], 377, 378, 396

Tyrian dye, 82, 111; _C. 75_

Tyrian flowers, 94, 137

Tyrians, of Cadmus, 88; of Dido, 351

Ty´ro, 170

Tyrrheus (t[)i]r´[=u]s), 363

Ulysses ([=u]-lis´[=e][s+]), wanderings of, mentioned, 168, 206, 265; descent of, 275, _C. 190-194_ (4); in Trojan War, 278-314; and Penelope, 279, 338-344; arms of Achilles, 308; U. and Philoctetes, 309; the Palladium, the Wooden Horse, 310, 314; Telemachus, 314, 339-345; wanderings of U. (Odyssey), 318-345; the Lotos-eaters, 318, 319; Tennyson's Lotos-eaters, 319, 320; the Cyclopes, 320-323, 349; Æolus and the bag of winds, 323; the Læstrygonians, 324; the isle of Ææa, Circe, 324-327; Dobson's Prayer of the Swine to Circe, 325, 326; visit to Hades, 327, 328; the Sirens, 328, 329; Scylla and Charybdis, 329, 330; cattle of the Sun, 330; Calypso, 331; the Phæacians, 332-337; Lang's Song of Phæacia, 335, 336; Nausicaa, 332 _et seq._; return to Ithaca, 337; fate of the suitors, 338-344; Tennyson's Ulysses, 344, 345; _C. 231-244_

Underworld (Hades), described, 47-52; the garden of Proserpine, 49, 50; Greek divinities of, 47, 52-54; rivers of, 47; inhabitants of, and communication with them, 51; judges of, 51, 53, 71, 246; myths of greater gods, 159-168; Hercules' visit, 220; Ulysses' visit, 327, 328; Æneas' visit, 353-361; _C. 44-46, 47, 49_. For the Norse Underworld, see _Hel_

[=U]-ra´n[)i]-a, the muse of astronomy, 37, _C. 38_ (4); also the Aphrodite of ideal love, _C. 34_. See _M. Arnold's Urania_

[=U]'r[.a]-nus, Ouranos ([=oo]'r[.a]-n[)o]s), father of Cronus, 4, 5, 6; _C. 4_. See _Heaven_

Urd ([=oo]rd), 374

Ushas ([)oo]´sh[.a]s). See _Hindu divinities_ (1)

Utgard-Loki ([)oo]t´gärd-lo´k[=e]), 382-386

Väch. See _Hindu divinities_ (1) and (2)

Vä´l[.a], _C. 109_

V[.a]-le´r[)i]-us Flac´cus, reference to, 269; _C. 299_

V[)a]l-h[)a]l´la, 374-376, 378, 387-390, 394, 414-419, 426-430

Valkyrias (v[)a]l-k[)i]r´y[.a][s+]), Valkyrs (v[)a]l´-k[~e]r[s+]), or Valkyries. See _Valkyries_

Valkyrie (v[)a]l-k[)i]r´[)i]), Wagner's opera of the, 416-421

Valkyries (v[)a]l-k[)i]r´[)i][s+]), Valkyrs (v[)a]l´-k[~e]r[s+]), or Valkyrias, 376, 388, 393, 402, 415, 418, 420, 421, 432

Vâlmîki (väl-m[=e]'k[=e]), 463

Varuna (v[)a]r´[)oo]-na). See _Hindu divinities_ (1)

Vayu (vä´y[=oo]). See _Hindu divinities_ (1)

Ve (v[=a]), 373, 374

Vedas (v[=a]'d[.a][s+]), the, 462

Vedic (v[=a]'dik) religion. See _Hindu divinities_ (1)

Ven-[~e]r-a´l[)i]-a, _C. 34_

Ve´nus (Aphrodite), daughter of Dione, 19; wife of Vulcan, 26; foam-born, 31; attributes, 31-34; her various influence, 31, 32; favorite animals and cities, 32; artistic conceptions of, 32; E. R. Sill's poem, The Venus of Milo, 32-34; attendants of, 35, 36; star of, 40; among the Romans, 59; Cypris, 68, 69, and _ad loc._; mother of Harmonia, 71, 89; myths of, 125-150; love for Mars, and Anchises, 125, 280; Adonis, 126-128; Lang's translation of Bion's Lament for Adonis, 126-128; Cupid and Psyche, 128-139; Atalanta and Hippomenes, 139-141; Hero and Leander, 141-145; Pygmalion and Galatea, 145-147; Pyramus and Thisbe, 147-149; Phaon, 149; her vengeance, 150; Pluto and Proserpine, 159; Paris, 278, 279; in Trojan War, 284, 289, 295, 313; Æneas, 346, 352, 354, 372; as a moon-goddess, 432; _C. 34, 35, 100-106_

Verdandi (v[)e]r-dän´d[=e]), 374

Vergelmir (v[)e]r-g[)e]l´m[=e]r), 373

V[~e]r-tum´nus, 61, 195; _C. 139_

Ves´per, 138

Ves´ta (Hestia), 5, 19, 35, 59; _C. 37_

Vestal Virgins, 35

Victoria (Ni´ke), 41

Vidar (v[=e]'där), 376, 395, 396

Vigrid (v[=e][=g]'r[=e]d), 395

Vili (v[=e]'l[=e]), 373, 374

V[)i]n´g[)o]lf, 374

Vir´gil (V[~e]r-[.g]il´[)i]-us), account of, and of the Æneid, 456; references to Georgics, 141, 202; to Æneid, 47, 51, 246, 308, 310-312, 349-353, 367, 370; to Bucolics, 223; outline of Æneid, 346-372; Tennyson's poem to Virgil, 346; the Æneid, _C. 245-260_; translations, 299

Vishnu (vish´n[=oo]). See _Hindu divinities_ (2)

Vitharr (v[=e]'thär). See _Vidar_

Void, 4

Volscens (v[)o]l´sen[s+]), 369, 370

Volsung (v[)o]l´s[)oo]ng), Volsungs, the saga of, 398-405, 460; in the Ring of the Nibelung, 416, 418-430; _C. 282_

Volsunga Saga (v[~e]l-s[)oo]n´[=g]ä sä´gä). See _Volsung_

Vr[)i]t´ra. See _Hindu divinities_ (1)

Vul´c[.a]n (Vul-ca´nus, Hephæstus), one of the great gods, 19; meaning of name, 24; attributes, 24-26; his lameness, 25, 90; his wife, 26, 61; among the Romans, Mulciber, 59; Harmonia's necklace made by, 89, 265; myths of, 90, 91; chariot of the Sun made by, 95; V. and Orion, 122; Talus, 242; father of Periphetes, 251; Ariadne, 253; armor of Achilles, 300; of Æneas, 372; interpretations of, 434, 440; _C. 29_

Vyâsa (vyä´s[.a]), 463

Wagner's Ring of the Nibelung, 410-430

Wälse (v[=á]l´s[~e]), 416, 418

Wälsungs (v[=á]l´s[)oo]ng[s+]), 416. See _Volsung_

Waltraute (väl´trou-t[~e]), 427, 428

Water-Nymphs, 46, 58, 189, 211

Waters, Greek gods of, 55-58; older dynasty, 55; younger dynasty, 55, 56; lesser divinities, 56-58; Wordsworth's "The world is too much with us," 58; myths of Neptune, 169-171; of lesser divinities, 198-205; _C. 141_

Winds, the, Greek names and attributes of, 38, 39; myths of, 172, 179; _C. 38_ (9), _125_, table H

Wo´d[.a]n, Wo´t[.a]n, Wo´den, 375, 412-430. See _Odin_

Woman, origin of, Greek, 11

Wooden Horse, the, 310-312, 337

World, conception of, among the Greeks, 42, 43

World egg, 3

Worms, 407, 409

Wo´t[.a]n. See _Wodan_

Xanten (zän´ten), 405, 406

Xanthus (zan´thus) river, 91, 97; _C. 71, 76_

Xuthus (z[=u]'thus), son of Hellen, 16; genealogy, _C. 103_, table G; _132_ (2), (5), _174_

Yam´a and Yami (yam´[=e]). See _Hindu divinities_ (1)

Yggdrasil ([)i][=g]'dr[.a]-sil), 374

Ymir (ü´m[=e]r or [=e]'m[=e]r), 373, 374, 394

Yssel-land ([)i]s´el), 406

Zan´t[=e], 153

Zeph´y-rus, 38, 39, 270; and Hyacinthus, 94; Zephyr and Psyche, 129-132; _C. 38_ (9)

Ze´t[=e][s+], 39, 230

Ze´thus, 75; _C. 62_

Zeus (z[=u]s). See _Jupiter_

Zeuxis (z[=u]x´is), a Greek painter of Heraclea; flourished about 424 B.C.

Z[)i][=u] or Tyr (t[=e]r). See _Tyr_

Zodiac, _C. 156-162_ (Interpret.)

Zo-ro-as´t[~e]r, 463

Zulus, myths among, 448

INDEX OF MODERN AUTHORS AND ARTISTS

[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. For explanation of the diacritical marks see p. 543.]

Acland, H. W. _C. 228-230_, Plains of Troy

Addison, Joseph, 1672-1719. _C. 255-257_ Spectator, No. 343; _299_, transl. Metamorphoses

Akenside (a´ken-s[=i]d), Mark, 1721-1770. _C. 38_ (4), (9), _128, 129-130_, Pleasures of Imagination; _C. 38_ (4), (11), Ode on Lyric Poetry, Ode to Hesper; _49_, Ode to Sleep

Albani (äl-bä´n[=e]), Francesco, 1578-1660 (paint.). _C. 36_, Mercury and Apollo; _95_, Diana and her Nymphs, Actæon (two pictures, Dresden); _141_, Galatea and Cupids

Aldrich, T. B., 1836-1907. _C. 195_, Pillared Arch and Sculptured Tower

Alfieri (äl-fy[=a]'r[=e]), Vittorio, 1749-1803. _C. 169_, Merope

Anderson, R. B. _C. 268-281_, Norse Mythology; Horn's Scandinavian Literature; Younger Edda

Armstrong, John, 1709-1779. _C. 30, 50-52, 68, 149-154_, The Art of Preserving Health

Armstrong, W. J. _C. 228-230_, Over Ilium and Ida

Arnold, Sir Edwin, 1832-1904. Reference to, 126; _C. 303_, Indian Idylls, Light of Asia; _32_, Hymn of the Priestess of Diana; _104_, transl. Musæus; _196_, Iphigenia

Arnold, M., 1822-1888. Quotation from Thyrsis, 224, 225; from Dejaneira, 228; his Merope, 242; from The New Philomela, 250; from Empedocles on Etna, 274; from Balder Dead, 388-397; _C. 8, 87_, Empedocles; _38_ (3), (4), Euphrosyne, Urania; _42_, Bacchanalia; _50-52_, The New Sirens; _156-162_, Fragment of a Dejaneira, Merope, Thyrsis; _174_, The New Philomela; _182-189_, Fragment of an Antigone; _231-244_, The Strayed Reveller; _268-281_, Balder Dead

Ashe, Thomas, 1836-1889. _C. 38_ (1), The Lost Eros

Bacon, Lord, 1561-1626. Wisdom of the Ancients; his method of explaining Greek Myths, 439, _C. 114-117_

Baldwin, James. _C. 282_, The Story of Siegfried, New York, 1888

Bandinelli (bän-d[='e]-nel´l[=e]), B., 1487-1559 (sculpt.). _C. 156-162_, Hercules and Cacus

Banks, J. Transl. Hesiod, Callimachus, and Theognis (Bohn's Library)

Barnfield, Richard, 1574-1627. _C. 174_, Song, "As it fell upon a day" (Philomela)

Bartsch (bärtsh), K. F. Der Nibelunge Nôt, 461 _n_; _C. 283_

Bates, H. (paint.). _C. 101-102_, Psyche

Baumeister (bou´m[=i]-st[~e]r). Denkmäler d. klassischen Altertums; see _List of Illustrations_

Beattie (b[=e]'t[)i]), James, 1735-1803. _C. 156-162_, Battle of Pygmies and Cranes; _195_, Judgment of Paris

Beaumont (bo´m[)o]nt), Francis, 1584-1616, and John Fletcher, 1579-1625. _C. 38_ (1), Cupid's Revenge; _50-52, 176-181_, Maid's Tragedy

Beddoes (bed´[=o]z), Thomas Lovell, 1803-1849. _C. 105_, Pygmalion; _114-117_, Stygian Naiades

Benfey (ben´f[=i]) and Cosquin (co-k[)a]n´). Cited by Lang, 447 _n_

Bennett, W. C., 1820 ----. _C. 105_, Pygmalion

Bernini (b[)e]r-n[=e]'n[=e]), Lorenzo, 1598-1680 (sculpt). _C. 48, 114-117_, Pluto and Proserpine; _89_, Apollo and Daphne

Beyschlag (b[=i]´shlä[.c]h), J. R., 1838 ---- (paint.). _C. 101-102_, Psyche; _118_, Orpheus and Eurydice

Birch, R., _C. 302_, Guide to Egyptian Rooms

Blackie, J. S., 1809-1895. _C. 141_, Galatea; _176-181_, Ariadne, The Naming of Athens; _195_, Judgment of Paris; _196, 298_, transl. Æschylus

Blake, William, 1757-1827. To the Muses, iii

Bland and Merivale. _C. 298_, transl. Greek Anthology

Bodenhausen (bo´den-hou´zen), C. von (paint.). _C. 104_, Hero and Leander

Bodmer, J. J. Referred to, 461; publ. Nibelungenlied, _C. 283_

Bologna (b[=ó]-l[=o]n´yä), Giovanni di, 1524-1608 (sculpt.). _C. 36_, Flying Mercury; _156-162_, Hercules and Centaur

Bordone (b[=ó]r-d[=o]'n[=a]), Paris, 1500-1571 (paint.). _C. 87_, Apollo, Marsyas, and Midas

Bouguereau (b[=oo]-[=g][~e]-ro´), A. W., 1825-1905 (paint.). _C. 35_, Birth of Venus; _38_ (1), Cupid and a Butterfly; _42_, Youth of Bacchus; _131_, Nymphs and Satyr

Bowring, E. A. _C. 22_, transl. Schiller; _38_ (2), Goethe's Ganymede; _60_, Schiller's Semele; _140_, Schiller's Cranes of Ibycus; _155_, Schiller's Pegasus in Harness

Brandi (brän´d[=e]), Giacinto, 1623-1691 (paint.). _C. 173_, Dædalus fastening Wings on Icarus (Dresden)

Bridges, Robert, 1844 ----. Extract from Eros and Psyche, 132; _C. 10-15_, Prometheus; _42_, Feast of Bacchus; _101_, Eros and Psyche; _199_, Achilles in Scyros; _231-244_, Return of Ulysses

Brooks, C. T., 1813-1883. _C. 207_, Schiller's Parting of Hector and Andromache

Browning, E. B., 1806-1861. Reference to, 126; extract from The Dead Pan, 183; _C. 10-15_, Prometheus Bound; _101-102_, Psyche; _131_, Flush, or Faunus; _141_, transl. Theocritus; _176-181_, paraphrases of Nonnus and Hesiod; _207_, paraphrase of Homer

Browning, R., 1812-1889. Passage from his Balaustion's Adventure, 107-110; _C. 81_, Apollo and the Fates; _83, 156-162_, Balaustion's Adventure; _118_, Eurydice and Orpheus; _129-130_, Pan and Luna; _156-162_, Aristophanes' Apology; _176-181_, Artemis Prologizes; _196_, Agamemnon; _255-257_, Ixion

Bryant, Jacob. Advocate of _theological_ interpretation, 440

Bryant, W. C., 1794-1878. _C. 149-154_, transl. Simonides' Lament of Danaë; _C. 231-244_, transl. Odyssey (1871)

Buchanan, R., 1841-1901. Cited or quoted: from his Satyr, 186, 187; from his Naiad, 189-191; _C. 4_, Cloudland; _47_, Ades, King of Hell; _50-52_, Naiad; _98_, Selene, the Moon; _105_, Pygmalion the Sculptor; _107_, Sappho on the Leucadian Rock; _118_, Orpheus; _129-130_, Pan; _141_, Polypheme's Passion; _145_, Proteus; _231-244_, Cloudland, Penelope; _268-281_, Balder the Beautiful

Buckley, T. A. _C. 298_, transl. Æschylus and Euripides

Bugge (b[)oo]g´[~e]), Sophus. _C. 268-281_, edition of Elder Edda

Bulfinch, S. G., 1809-1870. Extract from his translation of Schiller's Ideal and Life, 227, 228

Bulfinch, Thomas, 1796-1867. The Age of Fable; see Preface to this volume

Burges (b[~e]r´j[)e]s), G. _C. 298_, transl. Greek Anthology

Burne-Jones, Sir Edward, 1833-1898 (paint.). His Thisbe, 148; _C. 38_ (1), Cupid; _101-102_, Pan and Psyche; _105_, Pygmalion; _106_, Cupid, Pyramus, Thisbe; _118_, Orpheus and Eurydice; _131_, Nymphs; _149-154_, Perseus and the Graiæ; _199_, Feast of Peleus; _231-244_, The Wine of Circe

Burns, R., 1759-1796. _C. 30_, The Winter Night; _155_, To John Taylor

Butcher, S. H., and A. Lang. _C. 231-244, 298_, transl. Odyssey

Butler, Samuel, 1612-1680. _C. 32_, Hudibras

Byron, George Gordon, Lord, 1788-1824. Quoted or referred to, 452; Prometheus, 13; Age of Bronze, 15; Childe Harold, 311; _C. 10-15_, Prometheus, Ode to Napoleon; _32, 70_, Don Juan; _104, 228-230_, Bride of Abydos; _27, 30, 34, 35, 38_ (4), _41, 54, 78, 97, 228-230, 231-244_, references to Childe Harold

Call, W. M. W., 1817-1890. _C. 81_, Admetus; _83_, Alcestis; _176-181_, Ariadne; _268-281_, Balder, Thor

Calverley, C. S. (Blayds), 1831-1884. _C. 100_, Death of Adonis; _110-112, 141, 156-162, 170-171, 298_, transl. Theocritus; _299_, transl. Horace

Campbell, Lewis, 1830-1908. _C. 298_, transl. Sophocles

Campbell, Thomas, 1777-1844. _C. 38_ (11), Two Songs to the Evening Star; _163-167_, transl. of part of Euripides' Medea

Canova (cä-nô´vä), Antonio, 1757-1822 (sculpt.). _C. 35_, Venus Victrix; _38_ (3), Graces; _101-102_, Cupid and Psyche; _149-154_, Perseus; _173_, Dædalus and Icarus; _176-181_, Theseus; _195_, Paris; _204_, Ajax; _207_, Hector

Carlisle, Lord, 1802-1864. _C. 231-244_, Diary, note on Corfu and the Phæacians

Carlyle, Thomas, 1795-1881. Transl. of fragments of Nibelungenlied, 409; _C. 283_

Carracci (cär-rät´ch[=e]), Annibale, 1560-1609 (paint.). _C. 24-25_, Jupiter and Juno

Carracci (cär-rät´ch[=e]), Lodovico, 1555-1619, and Annibale (paint.). _C. 98_, Diana and Endymion; _141_, Polyphemus, Galatea, Acis

Cellini (chel-l[=e]'n[=e]), Benvenuto, 1500-1571 (sculpt.). _C. 24-25_, Jupiter; _27_, Minerva; _35_, Venus; _36_, Mercury; _149-154_, Perseus, Perseus saving Andromeda

Ç[~e]r-van´t[=e][s+], Miguel de, 1547-1616. Reference to, 14; _C. 16_

Chapman, G., 1559-1634. _C. 231-244, 298_, transl. Iliad and Odyssey; _104_, Marlowe's Hero and Leander; Sonnet on Chapman's Homer, see _Keats_

Chaucer, Geoffrey, 1340 (or 1328)-1400. References in _C._: The Former Age, _10-15_; The Knight's Tale, _34, 95, 176-181_; The Hous of Fame, _38_ (2), (9), _75, 173, 176-181, 199, 245-254_; The Legende of Good Women, _83, 106, 149-154, 163-167, 174, 176-181, 245-254_; The Complaint of Mars, _34, 83_; The Complaint of Venus, _34_; The Dethe of Blaunche, _125, 199, 226_; The Court of Love (?), _34, 83_; The Cuckow and Nightingale, or Boke of Cupid (?), _38_ (1); The Romaunt of the Rose (?), _132-133_; Troilus and Criseyde, _196, 226_

Church, F. S. _C. 10-15_, Pandora

Clapp, E. B. Greek Morality, etc., 455 _n_

Clarke, J. F. _C. 303, 304_, Ten Great Religions

Cleasby and Vigfusson (vig´f[=oo]-sun). Icelandic-English Dictionary, 458 _n_; _C. 300_

Clough, A. H., 1819-1861. _C. 95_, Actæon; _98_, Epi Latmo, Selene

Coleridge, Hartley, 1796-1849. _C. 10-15_, Prometheus; _195_, Sonnet on Homer

Coleridge, S. T., 1772-1834. _C. 93_, Kubla Khan

Collins, Mortimer, 1827-1876. _C. 49_, The Ivory Gate

Collins, William, 1721-1759. _C. 131, 132-133_, The Passions

Collins, W. L. _C. 298, 299_, Ancient Classics for English Readers

Colvin, S., 1845 ----. _C. 40_, A Greek Hymn

Conington, J., 1825-1869. _C. 299_, transl. Æneid, Horace's Odes, etc.

Correggio (c[=ó]r-red´jo), A. A., 1494-1534 (paint.). _C. 32_, Diana; _57_, Jupiter and Io; _62_, Antiope; _149-154_, Danaë

Cottle, A. S. _C. 268-281_, Icelandic Poetry

Cowper, William, 1731-1800. Transl. Homer, 18, 299, 331, 340, 341; _C. 30_, Yardley Oak; _44-46, 231-244, 255-257_, Progress of Error; _131-132_, On an Ugly Fellow; _145_, The Task; _298_, transl. Homer

Cox, the Rev. Sir G. W., 437 _n_, 448 _n_; _C. 57, 59, 70, 72-73, 74, 76, 78, 95, 101-102, 109, 118, 141, 156-162, 172_

Crabbe, George, 1754-1832. _C. 38_ (4), Village, Parish Register, Newspaper, Birth of Flattery (Invocations of the Muse); _204_, Village

Crane, Oliver. _C. 299_, transl. Æneid

Creuzer (croi´ts[~e]r), Professor, and the _allegorical_ interpretation, 439

Curtin, Jeremiah. _C. 118, 149-154_, Myths and Folk-Lore of Ireland

Curzon (cür-zôn´), A. de (paint.). _C. 101-102_, Psyche

Dale, Thos. _C. 298_, transl. Sophocles

Daniel, Samuel, 1562-1619. _C. 231-244_, Dialogue of Ulysses and the Siren

Dannecker (dän´ek-[~e]r), J. H. von, 1758-1841 (sculpt.). _C. 176-181_, Ariadne

Dante (dan´t[='e]) Alighieri, 1265-1321. Reference to, 14; _C. 16_

Darwin, Erasmus, 1731-1802. Extract from his Botanic Garden, 180, 247

Da´sent, Sir G. W., 1820-1896. _C. 268-281_, Popular Tales from the Norse

David (dà-v[=e]d´), J. L., 1748-1825 (paint.). _C. 195_, Paris and Helen

Dekker, Thomas, 1570-1641. _C. 30_, The Sun's Darling

Derby, the Earl of. Transl. Homer, 21; _C. 298_

Dippold, G. T. _C. 301_, Great Epics of Mediæval Germany

Dixon, R. W., 1833-1901. _C. 30_, Apollo Pythius

Dobell (d[=o]-bel´), Sydney, 1824-1874. _C. 268-281_, Balder

Dobson, Austin, 1840 ----. Procris, 174, 175; extract from Prayer of the Swine to Circe, 325, 326; _C. 123-124_, Procris; _141_, Polypheme

Domenichino (d[='o]-m[=a]-n[='e]-k[=e]'n[=o]), Z., 1581-1641 (paint.). _C. 32_, Diana's Chase; _245-254_, Cumæan Sibyl

Dosso Dossi (dôs´s[=o] dôs´s[=e]) (Giovanni di Lutero), 1479-1542 (paint.). _C. 98_, Diana and Endymion (Dresden)

Dowden, E., 1843 ----. _C. 59_, Europa; _118_, Eurydice; _149-154_, Andromeda

Doyle, Sir Francis Hastings, 1810-1888. _C. 182-189_, transl. [OE]dipus Tyrannus

Drayton, Michael, 1563-1631. _C. 30_, Song 8 (on Apollo); _38_ (2), Ganymede

Drummond, William, of Hawthornden, 1585-1649. _C. 30_, Song to Ph[oe]bus; _38_ (2), Ganymede; _50-52_, "Nymphs, sister nymphs," etc.; _100_, Statue of Adonis; _128_, Summons to Love; _149-154_, Statue of Medusa

Dryden, J., 1631-1700. Extract from Alexander's Feast, 45; _C. 298_, transl. Metamorphoses and the Æneis; _49_, Alexander's Feast; _54_, Epistle to Congreve; _85-86_, Chaucer's Wife of Bath's Tale; _131_, To Mrs. Anne Killigrew; _196_, Cymon and Iphigenia; _255-257_, St. Cecilia's Day

Dyer, John, 1700(?)-1758. Extracts from The Fleece, 230, 231, 314

Dyer, Louis, 1851 ----. Studies of the Gods in Greece, 446 _n_

Edwards, Miss A. B. _C. 302_, A Thousand Miles up the Nile

Eliot, George (Mary Ann Cross), 1819-1880. _C. 298_, Arion

Elliot, Lady Charlotte. _C. 149-154_, Medusa, 1878

Ellis, Robinson. _C. 299_, transl. Catullus

Ely, Talfourd. Olympus, 446 _n_

Emerson, R. W., 1803-1882. _C. 18_, Astræa; _182-189_, The Sphinx

Fawcett, Edgar, 1847-1904. _C. 231-244_, Calypso

Fawkes, Francis, 1721-1777. _C. 107_, transl. Sappho

Fénelon (f[=a]-n´-lôn´), François de la Mothe, 1651-1715. _C. 231-244_, Télémaque

Field, Michael. Callirrhoë, 1884

Fields, A. _C. 91_, Clytia

Fiske, John, 1842-1901. Citation from Myths and Myth-Makers, 432

FitzGerald, Edward, 1809-1883. _C. 182-189_, The Downfall and Death of King [OE]dipus; _196_, Agamemnon

Fitzgerald, M. P. _C. 176-181_, The Crowned Hippolytus

Flaxman, John, 1755-1826. _C. 199, 204, 207, 231-244_, Sketches

Fletcher, John, 1579-1625 (see _Beaumont_). _C. 38_ (1), A Wife for a Month; _42_, "God Lyæus" (from Valentinian); _58_, "Hear ye ladies" (Valentinian); _50-52, 176-181_, The Maid's Tragedy; _98_, The Faithful Shepherdess; _129-130_, Song of Priest of Pan; Song to Pan (Faithful Shepherdess); _176-181_, The Two Noble Kinsmen

Forestier, Auber (pseudonym for Annie A. Moore). _C. 283_, Echoes from Mist Land

Forster, F. _C. 123-124_, Procris and Cephalus

Foster-Barham, A. G. _C. 283_, transl. Nibelungenlied

Franceschini (frän-ches-k[=e]'n[=e]), M. A., 1648-1729 (paint.). _C. 100_, Birth of Adonis (Dresden)

Francklin, Thomas. _C. 298_, transl. Sophocles

Frere (fr[=e]r), J. Hookham, 1769-1846. _C. 149-154_, transl. Simonides' Lament of Danaë; _156-162_, transl. Euripides' Hercules Furens

Frothingham, N. L. _C. 114-117_, transl. Schiller's Festival of Eleusis; _224_, transl. Lessing's Laocoön

Fuller, S. Margaret, 1810-1850. _C. 38_ (2), Ganymede to his Eagle.

Garnett, Richard, 1835-1906. _C. 57_, Io in Egypt; _196_, Iphigenia in Delphi

Garrick, David, 1717-1779. _C. 65-66_, Upon a Lady's Embroidery

Gay, John, 1685-1732. _C. 141_, Polypheme's Song (Acis and Galatea)

Gayley, C. M. Extracts from translation of Schiller's Gods of Greece, 182; from hexameter translation of Catullus' Peleus and Thetis, 253-258, 269-273

Gérard (zh[=a]-r[.a]r´), François, 1770-1837 (paint.). _C. 101-102_, Cupid and Psyche

Giordano (j[='o]r-dä´n[=o]), Luca, 1632-1705 (paint.). _C. 149-154_, Perseus and Phineus; _156-162_, Hercules and Omphale; _176-181_, Bacchantes and Ariadne (Dresden)

Giorgione (j[='o]r-j[=o]'n[=a]) (Giorgio Barbarelli), 1477-1511 (paint.). _C. 131_, Nymphs and Satyr; _195_, The Judgment of Paris (Dresden)

Gladstone, W. E., 1809-1898. Translation from Iliad, 285. Works referred to or cited, 440 _n_; his theory of myths, 440; _C. 23_, on the number of the Olympians, and on the Olympian religion; _77_, on the Chryseïs incident

Gleyre (glêr), Charles G., 1807-1874 (paint.). _C. 42_, Dance of the Bacchantes; _156-162_, Hercules at the feet of Omphale

Goethe (g[~e]'t[~e]), J. W. von, 1749-1832. _C. 196_, Iphigenia in Tauris; see also under _Bowring_ and _Martin_

Goldsmith, Oliver, 1728-1774. _C. 132-133_, on a beautiful youth struck by blindness (Narcissus)

Gosse, E. W., 1849 ----. Quoted: Eros, 36; from the Sons of Cydippe, 81; from the Praise of Dionysus, 156, 157; _C. 22_, Greece and England; _32_, The Praise of Artemis; _64_, Sons of Cydippe; _118_, The Waking of Eurydice; _125_, Alcyone (a sonnet in dialogue); _156-162_, Gifts of the Muses; _255-257_, Island of the Blest

Gray, Thomas, 1716-1771. The Fatal Sisters referred to, 376; _C. 4_, _36_, _38_ (4), _40_, Progress of Poesy; _149-154_, Hymn to Adversity; _268-281_, Ode on the Descent of Odin, Ode on the Fatal Sisters

Greene, Robert, 1560-1592. _C. 56_, Arraignment of Paris

Greenwell, Dora, 1821-1882. _C. 114-117_, Demeter and Cora; _282_, Battle-Flag of Sigurd

Grimm, Jakob Ludwig, 1785-1863, and Wilhelm Karl, 1786-1859. Theory of distribution of myth, 448; derivation of word Edda, 458 _n_; _C. 101-102_, The Twelve Brothers; _301_, Deutsche Mythologie

Guercino (gw[)e]r-ch[=e]'n[=o]), Francesco, 1590-1666 (paint.). _C. 98_, Sleeping Endymion; _100_, Three Pictures of Adonis (Dresden); _123-124_, Aurora

Guérin (g[=a]-r[)a]n´), Pierre Narcisse, 1774-1833 (paint.). _C. 123-124_, L´Aurore et Céphale; _245-254_, Æneas at the Court of Dido

Hahn (hän), Werner. Modern German edition of Nibelungenlied, 407, 460 _n_, 461 _n_; _C. 283_

Hake, Thomas Gordon, 1809-1895. _C. 34_, The Birth of Venus; _149-154_, The Infant Medusa

Hallam, Arthur Henry, 1811-1833. _C. 105_, Pygmalion

Hamon ([.a]-môn´), J. L., 1821-1874 (paint.). _C. 123-124_, Aurora

Haug (hou[.c]h), M. _C. 304_, Sacred Language and Literature of the Parsis

Hawthorne, Nathaniel, 1804-1864. _C. 54, 131_, The Marble Faun

Head, Guy, d. 1801 (paint.). _C. 38_ (12), Iris

Hem´[.a]n[s+], Felicia D., 1793-1835. _C. 83_, Alfieri's Alcestis, Death Song of Alcestis; _97_, Pleiads; _176-181_, Shade of Theseus

Herrick, R., 1591-1674. _C. 38_ (1), The Cheat of Cupid, or The Ungentle Guest

Hervey, Thomas Kibble, 1799-1859. Poem on Cupid and Psyche, 136, 137

Hoffmann (h[='o]f´män), J. (paint.). _C. 283_, Illustrations of the Ring of the Nibelungen

Holmes, O. W., 1809-1894. _C. 98, 231-244_, Metrical Essays

Hood, Thomas, 1798-1845. _C. 30_, To the Sun; _32_, To the Moon; _91_, Flowers; _104_, Hero and Leander; _114-117_, Ode to Melancholy; _231-244_, Lycus the Centaur

Horn, F. W. Geschichte d. Literatur d. Skandinavischen Nordens, 458 _n_, 460 _n_

Horne, Richard Henry (Hengist), 1803-1884. _C. 10-15_, Prometheus, the Fire-bringer; _96_, Orion

Hübner (hüp´n[~e]r), E., 1842 ---- (paint.). _C. 196_, Iphigenia

Hunt, Leigh, 1784-1859. _C. 104_, Hero and Leander

Ingelow, Jean, 1820-1897. _C. 48_, Persephone

Ingres (an´gr'), J. A. D., 1780-1867 (paint.). _C. 182-189_, [OE]dipus and the Sphinx

Jackson, Helen Hunt, 1831-1885. _C. 40_, Demeter; _176-181_, Ariadne's Farewell

Jameson, Frederick. Translation of Wagner's Ring of the Nibelung, 411-430; _C. 284-288_

Jebb, R.C., 1841-1905. _C. 228-230_, articles on Troy

Johnson, Biorn, of Scardsa, 1575-1656. On the Elder Edda, 459

Johnson, Francis, d. 1876. _C. 304_, Oriental Religions

Johnson, Samuel, 1709-1784. Definition of Fable, 1

Johnsson (y[)o]ns´sun), Arngrim, 1568-1648. On the authorship of the Younger Edda, 459

Johnston, T. C. Did the Ph[oe]nicians discover America? 449 _n_

Jones, Sir William, 1746-1794. _C. 303_, transl. Sakuntala

Jonson, B., 1574-1637. Hymn to Cynthia, 31; _C. 4_, Neptune's Triumph; _129-130_, Pan's Anniversary; _42_, Dedication of the King's new cellar to Bacchus

Jonsson (y[)o]ns´sun), Thorleif. _C. 268-281_, edition of the Younger Edda

Jordaens (yôr´däns), Jakob, 1593-1678 (paint.). _C. 110-112_, Silenus and Bacchante; _176-181_, Ariadne, Fauns, etc. (Dresden)

Jordan (y[='o]r´dän), W. _C. 283_, Studies and Recitations of the Nibelunge

Kaulbach (koul´bä[.c]h), W., 1805-1874 (paint.). _C. 196_, Iphigenia

Keats, John, 1795-1821. Quotation from "I stood tiptoe upon a little hill," 67; from Endymion, Bk. 3, 125, 200, 201; Ode to Psyche, 137-139; Picture of Leander, 145; Sonnet on Chapman's Homer, 283; _C. 4, 54_, Hyperion; _30_, Hymn to Apollo; _32, 131_, To Psyche; _38_ (4), On a Grecian Urn; _42, 131, 155_, To a Nightingale; _48_, Melancholy; _75, 93, 98, 142, 231-244_, Endymion; _109_, Ode to Maia

Keller, F., 1842 ---- (paint.). _C. 104_, Hero and Leander

King, Ed. _C. 299_, transl. Metamorphoses

Kingsley, Charles, 1819-1875. Extract from the Andromeda, 212; _C. 107_, Sappho; _282_, Longbeard's Saga

Knight, Payne, 1750-1824. Symbolical Language of Ancient Art, 444 _n_

Kray (kr[=i]), W. (paint.). _C. 101-102_, Psyche and Zephyr

Kürenberg, von (f[='o]n kü´ren-b[)e]rG), and the Nibelungenlied, 461

Kyd (kid), Thomas, end of the sixteenth century. _C. 47, 61_, Spanish Tragedy

Lachmann (lä[.c]h´män), K. K., 1793-1851. Theory of Nibelungenlied, 461; _C. 283_, Nibelunge Nôt

La Fontaine (l[.a] fôn-ten´), Jean de, 1621-1695. Mentioned, 2

Landor, W. S., 1775-1864. Quotations from the Niobe, 102, 103; Hippomenes and Atalanta, 140, 141; from Orpheus and Eurydice (Dry Sticks), 167, 168; _C. 26_, Hymn of Terpander to Juno; _42_, Sophron's Hymn to Bacchus; _50-52, 176-181_, To Joseph Ablett; _59_, Europa and her Mother; _76, 123-124_, Gebir; _78_, Niobe; _83_, Hercules, Pluto, Alcestis, etc.; _107_, Sappho, Alcæus, etc.; _110-112_, Last Fruit of an Old Tree; _113_, Silenus; _128_, Sonnet on Genius; _129-130_, Pan and Pitys, Cupid and Pan; _137_, Dryope; _138_, The Hamadryad, Acon and Rhodope; _170-171_, Loss of Memory; _176-181_, Theseus and Hippolyta; _195_, Menelaüs and Helen; _196_, Iphigenia and Agamemnon; _199_, Peleus and Thetis; _219-220_, The Espousals of Polyxena; _221_, Corythos, Death of Paris and [OE]none; _228-230_, Death of Clytemnestra; _231-244_, The Last of Ulysses, Penelope

Lang, Andrew, 1844 ----. Quotation from The Fortunate Isles, 52; from The New Pygmalion, 145, 146, 147; Sonnet on the Odyssey, 318; A Song of Phæacia, 335, 336; transl. from Moschus, 68-70, 189; transls. from Iliad (w. Leaf and Myers), and from Odyssey (w. Butcher), see below; from Bion, 126-128; from Theocritus, 198-200, 222, 223, 224; Myth, Ritual, and Religion, and article on Mythology in Encyc. Brit, cited or referred to, Preface, 438 _n_, 440 _n_, 441 _n_, 447 _n_, 448, 449, and _C. 5, 30, 32, 58, 60, 61, 74, 89, 110-112, 114-117_. Transls. of Theocritus, Bion, and Moschus referred to, _C. 38_ (1), _110-112, 156-162, 195, 298_. Poems referred to: _C. 32_, To Artemis; _50-52_, Sirens; _195, 221_, Helen of Troy; _195_, Sonnet on Iliad

Lang, Andrew (Leaf and Myers). Transl. Iliad, 84-87, 104, 291, 292; _C. 298_

Lang, Andrew (Butcher and). Transl. Odyssey, 35, 327, 328; _C. 231-244_, _298_

Larned, Augusta. _C. 268-281_, Tales from the Norse Grandmother

Lathrop, G. P., 1851-1898. _C. 195_, Helen at the Loom

Lawton, W. C. _C. 163-167_, transl. Euripides

Lazarus, Emma, 1849-1887. _C. 81_, Admetus

Lee-Hamilton, E., 1845 ----. _C. 87_, Apollo and Marsyas; _149-154_, The New Medusa

Lefebvre (l[~e]-fev´r'), Jules (paint.). _C. 32_, Diana and her Nymphs

Leighton, Frederick, Lord, 1830-1896 (paint.). _C. 48_, The Garden of Proserpine; _83_, Hercules wrestling with Death for the Body of Alcestis; _101-102_, The Bath of Psyche; _114-117_, The Return of Proserpine; _118_, Orpheus and Eurydice; _149-154_, Perseus and Andromeda; _195_, Helen of Troy

Lessing, Gotthold E., 1729-1781, _C. 69, 224_, Laocoön

Lettsom, W. N. The Fall of the Nibelungers, 407-409; _C. 283_

Linton, William James, 1812-1897. _C. 118_, Eurydice; _196_, Iphigenia at Aulis

Lo´beck, Chr. A., 1781-1860. Aglaophamus, 442 _n_; _C. 114-117_

Lodge, G. C., 1873-1909. Herakles, 12; _C. 10-15, 156-162_

Lodge, Thomas, 1558-1625. _C. 38_ (2), Sonnet to Phyllis

Longfellow, H. W., 1807-1882. Quoted or referred to: Prometheus, 13-15; Drinking Song, 153; _C. 10-15_, Masque of Pandora, Prometheus, and Epimetheus; _96, 255-257_, Occultation of Orion; _98_, Endymion; _155_, Pegasus in Pound; _255-257_, Verses to a Child; _268-281_, Tegnér's Drapa, Saga of King Olaf

Lonsdale, J., and Lee, S. _C. 299_, transl. Virgil

Lorrain (l[='o]-r[=a]n´), Claude (Gel['e]e), 1600-1682 (paint.). _C. 36_, Mercury and Battus; _59_, Europa; _141_, Evening, Acis, and Galatea

Lowell, J. R., 1819-1891. Quotations from The Shepherd of King Admetus, 105, 106; from Fable for Critics (Daphne), 114; from Rh[oe]cus, 193, 194; _C. 10-15, 58_, Prometheus; _36_, Finding of the Lyre; _38_ (2), (6), Hebe, Villa Franca; _44-46_, to the Past; _50-52_, The Sirens; _98_, Endymion; _118_, Eurydice

Ludlow, J. M. _C. 301_, Popular Epics of the Middle Ages

Lü´ning. Die Edda, 458 _n_

Lydgate, John, 1370(?)-1451(?). _C. 196_, The Troy Book

Lyly (lil´[)i]), John, 1553-1606. _C.38_ (1), Cupid and Campaspe; _89, 113_, King Midas; _98_, Endymion; _107_, Sappho and Phao

Lytton, Edward G. E. L. Bulwer, Lord, 1803-1873. _C. 38_ (2), Ganymede; _64_, Cydippe, or the Apples; _226_, transl. Schiller's Cassandra; _255-257_, Death and Sisyphus; _299_, transl. Horace

Mabie, H. W. _C. 268-281_, Norse Stories

Macaulay, T. B., 1800-1859. Quotation from Prophecy of Capys, 61; from Lake Regillus, 243-245

Maffei (mäf-f[=a]'[=e]), F. S. di, 1675-1755. _C. 169_, Merope

Magnússon (mäg´n[=oo]s-s[='o]n), Arne. Derivation of word Edda, 459 _n_

Magnússon (mäg´n[=oo]s-s[='o]n), Eirikr (and William Morris). Story of the Volsungs and Nibelungs, 460 _n_; _C. 282_

Mannhardt (män´härt), W. Antike Wald- und Feld-kulte, 440 _n_; _C. 100_

Marchal, C. F., 1828-1878. _C. 231-244_, Penelope

Marlowe, Christopher, 1564-1593. Extract from Hero and Leander, 142-144; from Faustus, 287, 288; _C. 245-254_, Tragedy of Dido, Queen of Carthage

Marston, J., 1575(?)-1634. _C. 105_, Pygmalion

Martin, Sir Theodore, 1816-1898. _C. 36_, Goethe's Ph[oe]bus and Hermes; _38_ (1), _163-167, 176-181, 199, 299_, transl. Catullus; _299_, transl. Horace

Marvell, Andrew, 1621-1678. _C. 98_, Lord Fauconberg, Lady Mary Cromwell

Maxwell. _C. 49_, Tom May's Death

Mengs (menks), Anton Raphael, 1728-1779 (paint.). _C. 38_ (1), Cupid; _38_ (4), Apollo and Muses

Meredith, George, 1828-1909. _C. 76_, Phaëton; _114-117_, The Appeasement of Demeter

Merivale, J. H., 1779-1844 (and R. Bland). _C. 298_, transl. Greek Anthology

Mi-[-c]hel-an´[.g][='e]-lo Buonarroti, 1475-1564 (sculpt. and paint.). Three Fates, 38; Cumæan Sibyl, 353; _C. 30_, Apollo; _38_ (6), The Fates; _42_, Drunken Bacchus; _49_, A Fury; _100_, Dying Adonis; _131_, Mask of a Satyr; _245-254_, Sibyls

Mickle, William Julius, 1735-1788. _C. 106_, transl. of Camoens' Lusiad

Millais (m[)i]-l[=a]'), Sir John Everett, 1829-1896 (paint.). _C. 139_, Pomona

Millet (m[=e]-l[)e]'), Jean François, 1814-1875 (paint.). _C. 30_, Ph[oe]bus and Boreas

Milman, Henry Hart, 1791-1868. Lines from the Samor, 213; _C. 76_, Samor; _110-112_, Bacchanals of Euripides; _196_, Agamemnon of Æschylus; _298_, transl. Euripides

Milton, John, 1608-1674. Reference to, 14. Quoted: lines from Il Penseroso, 211, 451; from the Hymn on the Nativity, 181; from Comus, 40, 204, 205, 213, 314; from Paradise Lost, 226; _C. 16, 4-257 passim_, references to Paradise Lost, Paradise Regained, Lycidas, Comus, Il Penseroso, L´Allegro, Sonnets, Arcades, Vacation Excursion, Hymn on the Nativity, Samson Agonistes

Mogk, E. Article _Mythologie_ in Paul's Grundriss d. Germ. Philol., 446 _n_, 460 _n_

Molinari (mo-l[='e]-nä´r[=e]), Antonio, 1665-1727 (paint.). _C. 101-102_, Psyche and Sleeping Cupid (Dresden)

Moore, Thomas, 1779-1852. Quoted: Song of Hyperborean, 43; Clytie, 117; _C. 38_ (2), Fall of Hebe; _78_, Sir R. Blackmore; _80_, Lycus the Centaur; _93, 101-102_, Cupid and Psyche; _103_, Rhymes on the Road; _104_, Hero and Leander; _106_, The Sylph's Ball; _123-124_, Legendary Ballads; _156-162_, Hylas; _304_, The Fire-Worshipers

Morley, H., 1822-1894. _C. 300_, extract (on Runes) from English Writers

Morris, Sir Lewis, 1833-1907. The Epic of Hades, _C. 22, 24-25_ (Zeus); _26_ (Heré); _27_ (Athene); _30_ (Apollo); _32_ (Artemis); _34_ (Aphrodite); _47, 49_ (Hades); _48_ (Persephone); _61_ (Sisyphus); _78, 118_ (Tantalus); _87_ (Marsyas); _95_ (Actæon); _98_ (Endymion); _100_ (Adonis); _101-102_ (Psyche); _118_ (Orpheus, Eurydice); _132-133_ (Narcissus); _149-154_ (Medusa, Andromeda); _156-162_ (Dejaneira); _176-181_ (Phædra); _224_ (Laocoön); _228-230_ (Clytemnestra); _78_, Niobe on Sipylus

Morris, William, 1834-1896. Extracts from The Earthly Paradise, Story of Cupid and Psyche, 131, 135; Pygmalion and the Image, 146, 147; Doom of King Acrisius, 209, 210; Life and Death of Jason, 232, 233; Sigurd the Volsung, 398-404; _C. 50-52, 118, 163-167_, Life and Death of Jason; _64_, Earthly Paradise; _83_, The Love of Alcestis; _103_, Atalanta's Race; _149-154_, The Doom of Acrisius; _155_, Bellerophon; _156-162_, The Golden Apples; _221_, Death of Paris; _231-244_, transl. Odyssey; _268-281_, The Funeral of Balder; _282_, Sigurd the Volsung; _299_, transl. the Æneids

Morris, William, and E. Magnússon (mäg´n[=oo]s-s[='o]n). The Story of the Volsungs and Nibelungs, 460 _n_; _C. 282_

Morshead, E. A. A. _C. 196, 298_, transl. Æschylus

Motherwell, W., 1797-1835. _C. 282_, Battle-Flag of Sigurd; Jarl Egill Skallagrim; Sword Chant of Thorstein

Muir (m[=u]r), J. _C. 303_, Sanskrit Texts; Principal Deities of the Rig-Veda

Müller (mül´[~e]r), F. Max, 1823-1900. Cited, 434, 437, 438, 448 _n_; Oxford Essays, etc., referred to, 446 _n_; Preface and _C. 303_, Sacred Books of the East, History Sanskrit Literature, Science of Religion, Chips from a German Workshop, etc.; _C. 19-20, 24-25, 27, 36, 57, 58, 78, 81, 89, 109, 118, 126-127, 149-154, 155_, references to works in general

Müller (mül´[=e]r), H. D. _C. 59_, theory about Demeter

Murray, A. S. Manual of Mythology, referred to, Preface and 150

Myers, E., 1844 ----. _C. 10-15_, Judgment of Prometheus; _195_, Sonnet on the Iliad; _298_ (w. Lang and Leaf), transl. Iliad, transl. Odes of Pindar

Myller, C. H. _C. 283_, edition of Nibelungenlied

Neaves, Charles, Lord, 1800-1876. _C. 298_, transl. Greek Anthology

Neide (n[-i]'d[~e]), E., 1842 ---- (paint.). _C. 101-102_, Charon and Psyche

No´el, Hon. Roden, 1834 ----. _C. 38_ (2), Ganymede; _42_, Triumph of Bacchus; _129-130_, Pan (in the Modern Faust); _268-281_, Ragnarok (Modern Faust)

Occleve, Thomas, 1370-1454. _C. 38_ (1), The Letter of Cupid

Olafsson (o´läfs-sun), Magnus, 1574-1636. Edition of Snorri's Edda, 459

Paley, F. A., 1816-1888. _C. 298_, transl. Pindar's Odes

Palgrave, F. T., 1824-1897. _C. 83_, Alcestis

Palmer, G. H., 1842 ----. _C. 231-244, 298_, transl. Odyssey

Parmigiano (pär-m[='e]-jä´n[=o]) (Francesco Mazzuoli), 1504-1540 (paint.). _C. 38_ (2), The Rape of Ganymede (Dresden)

Parnell, Thomas, 1679-1718. _C. 10-15_, Hesiod, or the Rise of Woman; _42_, Bacchus

Pater, Walter H., 1839-1894. Extract from Marius the Epicurean, 133; the story of Cupid and Psyche, 157, 457 _n_; _C. 40_, Myth of Demeter; _101-102, 299_, Marius the Epicurean

Patmore, Coventry, 1823-1896. _C. 38_ (1), The Unknown Eros

Paul (poul), Hermann. Grundriss d. Germ. Philol., referred to, 446 _n_, 460 _n_

Paupion (p[=o]-p[='e]-ôn´) E. J. (paint.). _C. 106_, Thisbe

Peacock, Thomas Love, 1785-1866. _C. 110-112_, Vengeance of Bacchus

Peele, George, 1558-1598. _C. 54, 195_, Arraignment of Paris

Petiscus, A. H. The Gods of Olympus, 446 _n_

Phillips, Ambrose, 1671-1749. _C. 107_, transl. Sappho; _139_, Cider

Phillips, Stephen, 1868 ----. Extract from Marpessa, 115, 116; from Ulysses, 338; _C. 231-244_, Ulysses

Pisano (p[='e]-zä[']n[=o]), Andrea, 1270-1349 (paint.). _C. 173_, Dædalus and Icarus

Pix[']is, Th., 1831 ---- (paint.). _C. 283_, Illustrations of the Ring of the Nibelungen

Plump[']tr[=e], E. H., 1821-1891. Transl. Sophocles, 262-264, 267, 268; _C. 156-162, 182-189, 196, 204, 219-220, 228-230, 298_, transl. Æschylus and Sophocles

Pope, Alexander, 1688-1744. Transl. Homer, 286-288, 292, 293, 306, _C. 231-244, 298_; transl. Statius' Thebaid, _299_; references to Dunciad, the Messiah, Rape of the Lock, Windsor Forest, Essay on Criticism, Prologue to Satires, Spring, Summer, Moral Essays, Miscellaneous, _8, 18, 22, 30, 34, 38_ (1), _40, 44-46, 49, 50-52, 54, 57, 65-66, 78, 97, 100, 107, 113, 118, 125, 129-130, 131, 155, 156-162, 163-167, 172, 231-244, 255-257, 260_

Potter, R., 1721-1804. _C. 298_, transl. Æschylus and Euripides

Poussin (p[=oo]-s[)a]n[']), Nicolas, 1594-1665 (paint.). _C. 54_, The Kingdom of Flora; _57_, Pan and Syrinx (Dresden); _132-133_, Narcissus

Poynter, Sir E. J., 1836 ---- (paint.). _C. 103_, Atalanta's Race. Note also his Andromeda, Perseus, and Andromeda and Helen

Praed (pr[=a]d), Winthrop Mackworth, 1802-1839. _C. 226_, Cassandra

Preller (pr[)e]l['][~e]r), L., 1809-1861. Griechische Mythologie, cited or referred to, Preface and 4 _n_, 6 _n_, 446 _n_; _C. 8, 27, 30, 32, 34, 57, 59, 60, 61, 70_, _72-73_, _78_, _95_, _105_, _110-112_, _114-117_, _123-124_, _126-127_, _149-154_, _172_

Preston, Margaret J., 1825-1897. _C. 93_, Flight of Arethusa; _125_, Alcyone; _168_, The Quenched Branch

Prior, Matthew, 1664-1721. _C. 50-52_, On taking of Namur; _76_, Female Phaëton

Procter, Bryan Waller, 1787-1874. _C. 4_, Fall of Saturn; _19-20_, The Flood of Thessaly; _32_, The Worship of Dian; _110-112_, Bacchanalian Song; _114-117_, Rape of Proserpine; _141_, Death of Acis; _176-181_, On the Statue of Theseus

Raleigh, Sir Walter, 1552-1618. Citation from History of the World, 440

Randolph, Thomas, 1605-1634. _C. 42_, _54_, To Master Anthony Stafford

Raphael (r[)a]f['][='a]-[)e]l) (Sanzio, of Urbino), 1483-1520 (paint.). _C. 28_, Mars; _30_, Apollo; _32_, Luna; _36_, Mercury; _38_, Cupids, Six Hours of Day and Night; _87_, Marsyas; _101-102_, Cupid and Psyche; _141_, Triumph of Galatea; _195_, Sketch of Homer; _245-254_, Virgil, Dido

Read, T. B., 1822-1872. _C. 98_, Endymion

Reed, E. A. _C. 303_, Hindu Literature

Regnault (r[)e]-ny[=o]'), J. B., 1754-1829 (paint.). _C. 38_ (3), The Graces. Note also his Education of Achilles, Pygmalion and Venus, Death of Priam, and Orestes and Iphigenia

Reinach (ri[']nä[.c]h), Salomon, 1858 ----. _C. 78_, Apollo

Rembrandt (r[)e]m[']br[)a]nt) van Ryn, 1606-1669 (paint.). _C. 38_ (2), Ganymede carried off by Jove's Eagle (Dresden)

Reni, Guido (gw[=e][']d[=o] r[=a][']n[=e]) 1575-1642 (paint.). _C. 38_ (1), Cupid; _103_, Atalanta's Race; _123-124_, Aurora

Rhys (r[=e]s), John. Article in the _Academy_, 458 _n_

Richardson, F. _C. 303_, Iliad of the East

Richardson, L. J. _C. 64_, Biton and Cleobis

Rivière (r[=e]-vyêr[']), Briton, 1840 ---- (paint.). _C. 231-244_, Circe and the Companions of Ulysses. Note also his Argus and Actæon

Robinson, A. Mary F. (Madame James Darmesteter), 1857 ----. _C. 30_, A Search for Apollo, In Apollo's Garden; _176-181_, The Crowned Hippolytus

Rogers, Randolph, 1825-1892 (sculpt.). _C. 97_, The Lost Pleiad

Rogers, Robert Cameron, 1862 ----. Poems: _C. 44_, Charon; _54_, The Dancing Faun; _141_, Blind Polyphemus; _159_, Hylas; _231-244_, Odysseus at the Mast, the Death of Argus

Rogers, Samuel, 1763-1855. _C. 38_ (3), Inscription for a Temple dedicated to the Graces; _156-162_, On the Torso of Hercules

Rohde (ro[']d[~e]), E. Psyche, 446 _n_

Romano (ro-mä[']no), Giulio Pippi, 1492-1546 (paint.). _C.38_(4), Muses; _129-130_, Pan and the Young Olympos (Dresden)

Roscher (r[='o]sh['][~e]r), W. H. Ausführliches Lexikon d. griech. u. röm. Mythologie, referred to or cited, 7 _n_, 75 _n_, 93 _n_, 437 _n_; see Preface, and _C. 26_, _27_, _28_, _29_, _30_, _32_, _34_, _36_, _59_, _100_, _109_, _142_, _148_, _149-154_, _155_, _163-167_

Ross, R. S. _C. 176-181_, Ariadne in Naxos, London, 1882

Rossetti (r[='o]-set['][='e]), D. G., 1828-1882. _C. 4_, Mnemosyne; _10-15_, Pandora; _32_, Diana; _34_, _35_, Venus Victrix, Venus Verticordia; _48_, Proserpina; _50-52_, A Sea-Spell, The Siren; _104_, Hero's Lamp; _149-154_, Aspecta Medusa; _182-189_, The Sphinx (a painting); _195_, Helen; _226_, Cassandra (drawing and poem); _231-244_, Penelope, The Wine of Circe (for painting by E. Burne-Jones)

Roy, Protap Chundra. _C. 303_, transl. Mahâbhârata

Rubens (r[=oo][']benz), Peter Paul, 1577-1640 (paint.). _C. 32_, Diana and her Nymphs; _131_, Satyrs; _149-154_, Perseus and Andromeda; _156-162_, Hercules intoxicated; _168_, Meleager and Atalanta (Dresden); _195_, Judgment of Paris

Ruskin, J., 1819-1900. The Queen of the Air, 435, 444, 445; _C. 27_

Sæmund (s[=a][']m[=oo]nd) the Wise, 1055-1133. His connection with the Elder Edda, 459

Sandys (s[)a]ndz), George, 1577-1644. _C. 299_, transl. Metamorphoses

Saxe, J. G., 1816-1887. _C. 38_ (1), Death and Cupid; _76_, Phaëton; _113_, Choice of King Midas; _118_, Orpheus; _173_, Icarus; _231-244_, The Spell of Circe

Scheffer (sh[)e]f['][~e]r), Ary, 1795-1858 (paint.). _C. 38_ (2), Hebe

Schiavoni (skyä-vo[']n[=e]), N., 1777-1858 (paint.). _C. 38_ (2), Hebe

Schiller (sh[)i]l['][~e]r), J. C. F. von, 1759-1805. Extract from his Gods of Greece, transl. by C. M. Gayley, 182; from Ideal and Life, transl. by S. G. Bulfinch, 227, 228. See under _Bowring, Lytton, S. G. Bulfinch, Frothingham, Brooks_

Schliemann (shl[=e][']män), H., 1822-1890. _C. 228-230_, Troy and its Remains, Ilios, Troja

Schnorr von Carolsfeld (shn[='o]r f[='o]n kä[']-r[='o]ls-felt), Julius, 1794-1872. _C. 283_, The Nibelungen Frescoes

Schobelt (sho[']belt), P., 1838 ---- (paint.). _C. 48_, _114-117_, Rape of Proserpine

Schützenberger (shütz[']en-b[)e]r['][=g][~e]r), L. F., 1825 ---- (paint.). _C. 38_ (4), Terpsichore

Scott, Sir Walter, 1771-1832. _C. 245-254_, Marmion (Palinurus)

Scott, William Bell, 1811-1890. _C. 118_, Eurydice; _182-189_, The Sphinx; _196_, Iphigenia at Aulis

Seifert (zi[']f[~e]rt), A. (paint.). _C. 228-230_, Electra

Sellar, W. Y., 1825-1890. Augustan Poets, 446 _n_

Shakespeare, William, 1564-1616. Extract from Macbeth, 236; _C. 4-257_ _passim_, references to works in general

Shelley, P. B., 1792-1822. Quotations from Hymn of Apollo, 28, 29; Hymn of Pan, 111, 112; Arethusa, 118-120; Song of Proserpine, 160; Lines on the Medusa of Leonardo Da Vinci, 210; _C. 10-15_, _38_ (2), _57_, _109_, Prometheus Unbound; _30_, Homer's Hymn to Apollo, Adonaïs; _36_, _109_, Homer's Hymn to Mercury; _42_, _50-52_, Ode to Liberty; _44-46_, To Naples; _49_, To Night; _57_, To the Moon; _93_, Arethusa; _95_, Adonaïs; _118_, Orpheus; _141_, Cyclops of Euripides; _182-189_, Swellfoot the Tyrant

Sichel (ziG[']el), N., 1844 ---- (paint.). Reference to, _C. 10-15_

Sidney, Sir P., 1554-1586. _C. 30, 156-162_, Astrophel and Stella

Sill, E. R., 1841-1887. Quoted: Venus of Milo, 32-34; Semele, 72, 73

Sime (s[=i]m), James. Nibelungenlied (in Encyc. Brit.), 461 _n_

Smart, Chr., 1722-1771. _C. 299_, transl. Horace

Solimena (so-le-m[=a][']nä), Francesco, 1657-1747 (paint.). _C. 121_, Rape of Hippodamia; _176-181_, Battle of Centaurs and Lapithæ

Southey, R., 1774-1843. _C. 118_, Thalaba

Spenser, Edmund, 1552-1599. Quoted: Verses on the Graces, 36, 37; from the Muiopotmos, 83; Faerie Queene, 454; referred to: Epithalamion, _C. 30_, _32_, _34_, _38_ (2), _42_, _98_, _126-127_, _149-154_; Prothalamion, _4, 32, 34, 50-52, 132-133, 170-171_; Tears of the Muses, _38_ (4); Faerie Queene, _30, 32, 38_ (8), _40_, _42_, _48_, _49_, _50-52_, _54_, _76_, _96_, _118_, _123-124_, _126-127_, _155_, _156-162_, _170-171_

Stanyhurst, R., d. 1618. _C. 299_, transl. Æneid, 1-4

Stapylton, Sir R., d. 1669. _C. 104_, transl. Musæus

Stedman, E. C., 1833-1908. Pan in Wall Street, quoted, 183-185; _C. 22_, News from Olympia; _231-244_, Penelope

Stephens, George, 1851 ----. _C. 300_, Old Runic Monuments

Stoddard, R. H., 1825-1903. _C. 54_, Arcadian Hymn to Flora; _114-117_, The Search for Persephone

Story, W. W., 1819-1895. _C. 32_, Artemis; _59_, Europa; _91_, Clytie; _255-257_, Tantalus

Sturlason, Snorri (sn[)o]r[']r[=e] st[=oo]r[']l[.a]-sun), 1179-1241. Connection with the Prose Edda, 459; _C. 268-281_

Surrey, Henry Howard, Earl of, 1517-1547. _C. 106_, Death of Sir T. Wyatt

Sveinsson (sv[=i]ns[']sun), Bp. Bryniolf, 1605-1675. His connection with the Elder Edda, 459

Swanwick (sw[)o]n´ik), Anna, 1813-1899. _C. 196_, transl. Æschylus

Swift, Jonathan, 1667-1745. His burlesque verses on Philemon and Baucis, 79, 80; _C. 30_, Apollo Outwitted; _54_, To Janus; _113_, Fable of Midas; _224_, A City Shower

Swinburne, A. C., 1837-1909. Quoted: His Garden of Proserpine, 49, 50; from Atalanta in Calydon, 237 _et seq._; _C. 32_, Chorus to Artemis; _34_, Chorus to Aphrodite (in Atalanta in Calydon); Laus Veneris; _40_, At Eleusis; _42_, Prelude to Songs before Sunrise; _48_, To Proserpine; _114-117_, Song to Proserpine, At Eleusis; _129-130_, Pan and Thalassius; _168_, Atalanta in Calydon; _174_, Itylus; _176-181_, Phædra, Erechtheus; _182-189_, Tiresias

Tabley, Lord de (pseud. Wm. P. Lancaster), 1835 ----. _C. 10-15_, Pandora; _57_, Minos; _60_, Semele; _89_, Daphne; _129-130_, Ode to Pan; _219-220_, Philoctetes; _228-230_, Orestes

Talfourd (tôl[']f[~e]rd), Sir Thomas Noon, 1795-1854. _C. 174_, Ion

Taylor, Bayard, 1825-1878. _C. 19-20_, Prince Deukalion; _22_, Masque of the Gods; _156-162_, Hylas; _173_, Icarus

Teignmouth (t[)i]n[']muth) (English artist). _C. 64_, Cydippe

Tennyson, Alfred, Lord, 1809-1892. Quotations from the Hesperides, 40; Amphion, 76, 77; Locksley Hall, 124; his Tithonus, 177-179; Dream of Fair Women (Helen), 277, (Iphigenia) 281; [OE]none, 278; Lotos-eaters, 319, 320; Ulysses, 344-345; To Virgil, 346; _C. 24-25_, _30_, The Talking Oak; _38_ (2), _54_, _59_, Palace of Art; _38_, (11) The Hesperides; _40_, _114-117_, Demeter and Persephone; _104_, Hero to Leander; _149-154_, The Princess; _182-189_, Tiresias; _195_, Dream of Fair Women; _221_, [OE]none, and Death of [OE]none; _245-254_, To Virgil

Tennyson, Frederick, 1807-1898. _C. 78_, Niobe; _89_, Daphne; _101-102_, Psyche; _105_, Pygmalion; _107_, Kleïs (in Isles of Greece); _125_, Halcyone; _163-167_, Æson, and King Athamas; _176-181_, Ariadne

Teschendorff (tesh´en-dôrf), E., 1823 ---- (paint.). _C. 176-181_, Ariadne; _182-189_, [OE]dipus, Antigone, Ismene; _196_, Iphigenia; _228-230_, Electra

Thomas, Edith M., 1854 ----. _C. 38_ (2), Homesickness of Ganymede; _81_, Apollo the Shepherd; _87_, Marsyas; _125_, The Kingfisher

Thomson, James, 1700-1748. Extract from the Seasons, 195; _C. 35_, _54_, Seasons; _38_ (4), _49_, _105_, Castle of Indolence; _174_, Hymn to the Seasons; _196_, Agamemnon, a Tragedy

Thorpe, B. _C. 268-281_, transl. of Sæmund's Edda

Thorwaldsen (tôr[']wôld-sen), Albert Bertel, 1770-1844 (sculpt.). _C. 10-15_, Minerva and Prometheus (on vase of the Perseus); _28_, Mars and Cupid; _29_, Vulcan forging Arrows for Cupid; _35_, Venus with the Apple; _36_, Mercury; _38_, Mars and Cupid, Ganymede, Terpsichore; _80_, Hygea and Æsculapius; _100_, Adonis; _207_, Hector and Andromache

Thumann (t[=oo]'män), Paul, 1834 ---- (paint.). _C. 38_ (6), The Fates; _101-102_, Cupid and Psyche

Tickell, Thomas, 1686-1740. _C. 30_, To Apollo making love, transl. of Iliad, Bk. 1 (1715)

Tiele (t[=e]'l[~e]), Professor C. P. Cited by Lang, 438

Tintoretto (t[=e]n-t[='o]-ret´t[=o]), Giacomo, 1518-1594 (paint.). _C. 27_, Minerva defeating Mars; _29_, Forge of Vulcan; _35_, Cupid, Venus, and Vulcan; _36_, Mercury and the Graces; _176-181_ Ariadne and Bacchus; _38_ (4), The Muses and Apollo (Dresden)

Tisio (t[=e]'z[='e]-[=o]), Benvenuto, 1481-1559 (paint.). _C. 68_, Venus showing her wounded hand to Mars (Dresden)

Titian (tish´[.a]n) (Tiziano Vecellio), 1477-1576 (paint.). _C. 35_, Venus; _38_ (1), Cupid and Venus (Dresden); _54_, Flora; _100_, Venus and Adonis (copy, Dresden); _149-154_, Danaë and the Shower of Gold; _176-181_, Bacchus and Ariadne

Todhunter, John, 1839 ----. _C. 83_, Alcestis; _195_, Helena in Troas

Translators: English Translations from Ancient and Modern Poems, by various authors (Vol. II including Rowe's Lucan's Pharsalia; Fawkes' Theocritus, Bion, Moschus, Argonautics of Apollonius Rhodius, Anacreon, Sappho; Ovid's Metamorphoses by Dryden, Addison, Garth, etc.; Lewis' Thebais of Statius; Cooke's Hesiod, etc.). 3 vols. London, 1810. For other translators, see _C. 195-244, 298-303_

Turchi (t[=oo]r´k[=e]), Alessandro (l´Orbetto), 1582-1648 (paint.). _C. 100_, Venus holding the body of Adonis (Dresden)

Turner, Charles Tennyson, 1808-1879. _C. 96_ Orion

Turner, J. M. W., 1775-1851 (paint.). _C. 36_, Mercury and Argus; _123-124_, Procris and Cephalus; _245-254_, Dido building Carthage

Tylor, E. B., 1832-1909. Works cited or referred to, 440 _n_, 446, 449 _n_

Van Beers (vän b[=a]rs´), J., 1821-1888 (paint.). _C. 50-52_, The Siren

Van der Werff (vän d[~e]r v[)e]rf´), Adrian, 1659-1722 (paint.). _C. 195_, Judgment of Paris (Dresden)

Van Dyck (v[)a]n d[=i]k´), Sir Anthony, 1599-1641. _C. 38_ (1), Sleeping Cupid; _149-154_, Jupiter and Danaë (Dresden)

Van Haarlem (vän här´lem), Cornelis, 1562-1638 (paint.). _C. 190-194_ (1), Wedding of Peleus and Thetis (Hague)

Van Mieris (vän me´ris), Willem, 1662-1747 (paint.). _C. 123-124_, Cephalus and Procris (Dresden)

Vedder, Elihu, 1836 ---- (paint.). _C. 97_, Pleiades; _245-254_, Cumæan Sibyl

Velasquez (v[=a]-läs´k[=a]th), D. R. de Silva y, 1599-1660 (paint.). _C. 29_, Forge of Vulcan

Vere (v[=e]r), Aubrey Thomas De, 1814-1902. _C. 30_, Lines under Delphi; _48_, Search after Proserpine; _59_, Rape of Europa; _114-117_, on the myth of Proserpine; _182-189_, Antigone

Veronese (v[=a]-r[='o]-n[=a]'z[=a]) (Paolo Cagliari), 1528-1588 (paint.). _C. 30_, St. Christina, etc.; _35_, Venus, Satyr, Cupid; _59_, Rape of Europa

Verrall, Arthur W. _C. 298_, transl. Æschylus and Euripides

Vien (vy[)a]n), J. M., 1716-1809 (paint.). _C. 173_, Dædalus and Icarus

Vigfusson (vig´f[=oo]-sun), G., and F. Y. Powell. Corpus Poeticum Boreale, 458-460 _n_; _C. 268-281, 282, 300_

Vilmar, A. F. C. Geschichte d. deutschen National-Litteratur, 461 _n_; _C. 301_

Vinci, Da (dä v[=e]n´ch[=e]), Leonardo, 1452-1519 (paint.). _C. 149-154_, Head of Medusa

Voltaire (v[='o]l-têr´), 1694-1778. _C. 169_, Merope

Voss (f[='o]s), G. J., 1577-1649. Advocate of _theological_ interpretation, 440

Wade, Thomas, 1805-1875. _C. 26_, The Nuptials of Juno

Wagner (väg´n[~e]r), Richard, 1813-1883. The Ring of the Nibelung, 410-430; _C. 283, 284-288_

Waller, Edmund, 1605-1687. _C. 50-52, 89, 245-254_, Panegyric on Lord Protector

Ward, W. _C. 303_, History, Literature, and Mythology of the Hindoos

Warton, Joseph, 1722-1800. _C. 40_, First of April

Watteau (v[.a]-t[=o]'), Antoine, 1684-1721 (paint.). _C. 195_, Judgment of Paris

Watts, G. F., 1817-1904 (paint.). _C. 89_, Daphne; _98_, Endymion; _101-102_, Psyche; _118_, Orpheus and Eurydice. Note also his Ariadne, and The Wife of Pygmalion

Way, A. S. _C. 298_, transl. Euripides; _299_, transl. Horace

Weber (v[=a]'b[~e]r), A. F. _C. 303_, History of Indian Literature

Webster, Augusta, 1840 ----. _C. 10-15_, transl. Æschylus' Prometheus Bound; _163-167_, transl. Euripides' Medea

Welcker (v[)e]l´k[~e]r), F. G. _C. 59, 126-127_, interpretations of myths

West, E. W. See _Haug_

Wheeler, B. I. Dionysos and Immortality, 446 _n_

White, Henry Kirke, 1785-1806. _C. 32_ Ode to Contemplation; _49_, Thanatos

Whitelaw, R. _C. 156-162, 298_, transl. Sophocles

Wickham, E. C. _C. 299_, transl. Horace

Wiertz (v[=e]rts), A. J., 1806-1865 (paint.). _C. 29_, Forge of Vulcan; _199_, Fight for the Body of Achilles

Wilde, Oscar, 1856-1900. _C. 38_ (1), The Garden of Eros; _174_, The Burden of Itys

Wilkinson, Sir Gardner, 1797-1875. _C. 128_, on the statue of Memnon

Wilkinson, W. C. _C. 298_, College Greek Course, and College Latin Course, in English

Williams, Sir M. Monier, 1819-1899. _C. 303_, transl. Nalopákhyánam

Williams, T. C. _C. 299_, transl. Æneid

Wilson, H. H., 1786-1860. _C. 303_, transl. Rig-Veda-Sanhita; Theatre of the Hindus

Wodhull, Michael, 1740-1816. _C. 163-167, 228-230, 298_, transl. Euripides

Woodberry, George E. Extracts from Proserpine, 163, 164

Woolner, Thomas, 1825-1892. _C. 27_, Tiresias (Pallas Athene); _34_, Pygmalion (Cytherea); _105_, Pygmalion; _182-189_, The Sphinx

Wordsworth, W., 1770-1850. Quoted: Sonnet, "The World is too much with us," 58; Laodamia, 282, 283; Excursion, 443, 444; _C. 32_, To Lycoris; _118, 129-130_, Power of Music; _219-220_, Philoctetes

Wyatt, Sir Thomas, 1503-1542. _C. 34_, The Lover prayeth, etc.; _245-254_, Song of Iopas

Young, Edward, 1683-1765. _C. 38_ (4), Ocean; _54, 98, 155, 245-254_, Night Thoughts

Zick (ts[)i]k), A. (paint.). _C. 101-102_, Psyche

Transcriber's Notes:

Simple spelling, grammar, and typographical errors were corrected.

Punctuation normalized.

Anachronistic and non-standard spellings retained as printed.

Italics markup is enclosed in _underscores_.

Bold markup is enclosed in =equals signs=.

Greek text is transliterated and enclosed in #number signs#.

Item # 108 on p. 505 is missing in original.

Latin small letter c with bar is denoted by [-c].

Superscripts are indicated with a single caret (^) followed by the superscripted text. If the superscript continues for more than one character, then the text is surrounded by curly braces { and } as well.

Proofreading Symbols for Diacritical Marks (In the table below, the "x" represents a letter with a diacritical mark.) diacritical mark sample above below macron (straight line) ¯ [=x] [x=] 2 dots (dieresis, umlaut) ¨ [:x] [x:] 1 dot · [.x] [x.] acute accent (aigu) ' ['x] [x'] circumflex [^x] [x^] breve (u-shaped symbol) [)x] [x)] tilde [~x] [x~] plus sign + [+x] [x+]