The Classic Myths in English Literature and in Art (2nd ed.) (1911)
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TO THE MUSES
Whether on Ida's shady brow,Or in the chambers of the East,The chambers of the sun, that nowFrom ancient melody have ceas'd;Whether in Heav'n ye wander fair,Or the green corners of the earth,Or the blue regions of the air,Where the melodious winds have birth;Whether on crystal rocks ye rove,Beneath the bosom of the sea,Wandering in many a coral grove,Fair Nine, forsaking Poetry;How have you left the ancient loveThat bards of old enjoyed in you!The languid strings do scarcely move,The sound is forc'd, the notes are few!William BlakeO antique fables! beautiful and brightAnd joyous with the joyous youth of yore;O antique fables! for a little lightOf that which shineth in you evermore,To cleanse the dimness from our weary eyes,And bathe our old world with a new surpriseOf golden dawn entrancing sea and shore.James ThomsonPREFACE
In this new edition of "The Classic Myths in English Literature" the former order of materials has been altered in accordance with the advice of the teachers who have had longest experience with the use of the book; the old material has been thoroughly revised; and much new material has been added. Since most people prefer to begin a story at its beginning, and not with the career of its author and his genealogy, I have reserved the history of the myths for the conclusion of the text. Some of the myths have been restated in more careful form. Some short narratives, before omitted, have been included. The sketches of the Iliad and the Odyssey have been considerably expanded; and an outline – which, I hope, will be deemed adequate – of Wagner's version of the Ring of the Nibelung has been appended to the account of Norse and German mythology. That version is, of course, not English literature; but it has come to be received as the classic modern version of the story; and the story is needed, at some time or other, by every lover of music. Fresh examples of the employment of myth in English verse have, where practicable, been incorporated in the text; and some new references will be found in the Commentary.
I have thoroughly revised the list of illustrative cuts, have interpreted the more difficult of the ancient figures, and indicated the sources. The pictures themselves are a decided improvement upon those in the former edition. In the determination of sources for reproduction, I have had the valuable assistance of Dr. E. von Mach, the author of more than one well-known work on ancient art; and to him I am indebted, in addition, for the section on The Classic Myths in Art, which is included in my Introduction. With this new equipment the book should prove more useful to those who here make their first acquaintance with art, especially the art of the ancients, as well as to those who have been in the habit of using it as a guide to paintings and sculptures of mythological subjects in foreign galleries.
Much of our best English poetry lies beyond the imaginative reach of many readers because of their unfamiliarity with the commonplaces of literary allusion, reference, and tradition. Of such commonplaces few are more frequently recurrent than those furnished by the literature of myth.
In view of this consideration, the Academic Council of the University of California, some twenty years ago, introduced into its requirements for entrance in English the subject of Classical Mythology in its relation to English Literature, and recommended, as a textbook for preparation, Bulfinch's "Age of Fable." The experience of English and classical teachers in the schools of the state attested the wisdom of the requirement; but the demand for some textbook adapted to the needs of the classroom made necessary the preparation of this volume. For while "The Age of Fable" offered a tempting collection of Greek, Norse, and Oriental narratives, it was designed neither as a schoolbook nor as a systematized presentation and interpretation of the myths that have most influenced English literature.
At the request of my publishers I undertook at that time such a revision and rearrangement of the materials of "The Age of Fable" as might adapt it to the purposes of teacher and pupil, and to the taste of readers somewhat more advanced in years than those addressed by the original work or by the edition which bore the name of the Reverend Edward Everett Hale. But after a year's work I found that half my material for copy was new, and that the remainder differed in many important respects from the book upon which it was based. Consequently, while the obligation to "The Age of Fable" was acknowledged in full, a different title was selected for the resulting volume. For neither my publishers nor I desired that the scholarship or the taste of Mr. Bulfinch should be held accountable for liberties that were taken with his work.
In "The Classic Myths in English Literature and in Art," Chapters XXIII-XXVII, containing sketches of the Fall of Troy, the Odyssey, the Æneid, and of certain Norse lays, are a revision of corresponding chapters in "The Age of Fable." Chapters VII-XX, and XXII, comprising Myths of the Greater Divinities of Heaven, Earth, the Underworld, and the Waters, Myths of the Lesser Divinities of the same regions, Myths of the Older Heroes and Myths of the Younger Heroes, and the outline of the Trojan War, represent a total rearrangement and recomposition of the original material, section by section, and frequently paragraph by paragraph, – such portions of "The Age of Fable" as have been retained being abridged or rewritten, and, in places too frequent to enumerate, supplemented by new and necessary sentences, paragraphs, and sections. The Introduction, the first six chapters (on the Greek Myths of the Creation, and the attributes of Greek and Roman divinities), Chapters XXI and XXVIII-XXXII (on the Houses concerned in the Trojan War, the Saga of the Volsungs, the Lay of the Nibelungs, Wagner's Ring of the Nibelung, and on the origin, elements, distribution, and preservation of myth), the choice of poetic and artistic illustration, the footnotes referring to sources, and the Commentary are wholly, or essentially, my own. In fact, there is little but the scaffolding of "The Age of Fable" now remaining in the book.
Although in the Index of Mythological Subjects and their Sources the more common myths of some other nations are briefly stated, no myths save those known to the Greeks, Romans, Norsemen, or Germans have been included in the body of the text. The scope of selection has been thus confined for three reasons: first, the regard for necessary limits; second, the desirability of emphasizing only such myths as have actually acclimated themselves in English-speaking lands and have influenced the spirit, form, and habit of English imaginative thought; third, the necessity of excluding all but the unquestionably classic. The term classic, however, is, of course, not restricted to the products of Greece and Rome; nor is it employed as synonymous with Classical or as antithetical to Romantic. From the extreme Classical to the extreme Romantic is a far cry; but as human life knows no divorce of necessity from freedom, so genuine art knows neither an unrelieved Classical nor an unrestrained Romantic. Classical and Romantic are relative terms. The Classical and the Romantic of one generation may merit equally to be the classics of the next. Therefore certain Hellenic myths of romantic spirit or construction have been included in this work, and certain Norse and German myths have not been excluded. Whatever is admitted, is admitted as first-class: first-class, because simple, spontaneous, and beautiful; because fulfilling the requirements of perennial freshness, of æsthetic potency, and of ideal worth.
In the matter of illustrative English and American poems the principle of selection has been that the verses shall translate a myth from the classic original, or exemplify the poetic idealization and embellishment of the subject, or suggest the spirit and mien of ancient art. But in each case regard has been had to the æsthetic value of the poem or the citation. In the search for suitable examples I have derived valuable assistance from Mr. E.C. Guild's "Bibliography of Greek Mythology in English Poetry of the Nineteenth Century" (Bowdoin College, Library Bulletin No. 1). The student is also referred to A.E. Sawtelle's "Sources of Spenser's Mythology," C.G. Osgood's' "Classical Mythology of Milton," and R.K. Root's "Classical Mythology in Shakespeare" (Holt, 1896, 1900, and 1903, respectively).
In the Commentary four things have been attempted: first, an explanation, under each section, of ordinary textual difficulties; second, an unpretentious exposition of the myth or a brief statement of the more evident interpretations advanced by philologists or ethnologists; third, an indication of certain additional poems or verses that illustrate the myth; fourth, special mention of such masterpieces of ancient and modern sculpture and painting as may serve to introduce the student or the general reader to a field of æsthetic profit neglected by the great mass of our people. For the poetic conception of most of the myths contained in Chapters I-XXIV, we are indebted to the Greek imagination; but since this book is intended for students of English poetry, and since in English poetry Latin names of mythological characters are much more frequently employed than Greek, the Latin designations or Latinized forms of Greek names have been, so far as possible, retained; and such variations as Jupiter, Jove – Proserpina, Proserpine, freely used. In the chapters, however, on the attributes of the Greek gods, names exclusively Greek have been placed in parentheses after the usual Roman equivalents, Latin appellations, or designations common to both Greek and Roman usage. In the transliteration of Greek names I have followed, also, the prevalent practice of our poets, which is, generally speaking, the practice of the Romans. The diphthong ει, for instance, is transliterated according to the accepted English pronunciation, which in individual words perpetuates the preference of the Latins for the e sound or the i sound respectively. So Ἀτρείδης becomes Atrīdes; Ἰφιμέδεια, Iphimedīa. But, on the other hand, Κυθέρεια becomes Cytherēa; Πηνειός, Penēus; and Μήδεια, Medēa; while owing to purely popular English custom, such a name as Φειδίας has become, not Pheidias nor even Phīdias, but —Phĭdias. A few names of islands, towns, persons, etc., that even in Latin retain their Greek forms, – such as Delos, Naxos, Argos, Aglauros, Pandrosos, – have been transferred without modification. So also has Poseidon, because that is the common English spelling. In short, the practice aimed at has been not that of scientific uniformity, but of acknowledged poetic usage. In the titles of the illustrative cuts, Greek names have been used for works of Greek origin, Latin for the Roman.
For the benefit of readers who do not know the fundamental rules for the pronunciation of Greek and Latin proper names in English, a brief statement of rules is prefixed to the Index; and in the Index of Mythological Subjects and their Sources names are not only accented, but, when necessary, diacritically marked.
In the preparation of the Text and Commentary more or less use has been made of: Roscher's Ausführliches Lexikon der griechischen und römischen Mythologie (Lieferungen 1-21, Teubner, Leipzig); Preller's Griechische Mythologie (2 Bde., Berlin, 1861); Max Müller's Chips from a German Workshop, Science of Religion (London, 1873), Science of Language (7th ed., 2 vols., London, 1873), Oxford Essays (1856); Sir G. W. Cox's Mythology of the Aryan Nations (2 vols., London, 1878); Frazer's Golden Bough; W. Warde Fowler's Roman Festivals (London, 1899); Welcker's Griechische Götterlehre; Baumeister's Denkmäler des klassischen Alterthums; Murray's Manual of Mythology (New York, 1880); Smith's Dictionary of Greek and Roman Biography and Mythology; Duruy's Histories of Rome and Greece; Keightley's Greek and Roman Mythology; Kelsey's Outline of Greek and Roman Mythology (Boston, 1889); Horn's Geschichte der Literatur des skandinavischen Nordens (Leipzig, 1880); Cleasby and Vigfusson's Icelandic Dictionary; Lüning's Die Edda (Zürich, 1859); Vigfusson and Powell's Corpus Poeticum Boreale (2 vols., Oxford, 1883); Paul's Grundriss der germanischen Philologie, 1 Bd., 5 Lfg. (article Mythologie, by E. Mogk); Grimm's Teutonic Mythology (translated by Stallybrass, 3 vols.); Werner Hahn's Das Nibelungenlied; Lang's Myth, Ritual, and Religion (2 vols., London, 1887), and Mythology (Encyc. Brit., Vol. 9); Tylor's Anthropology (New York, 1881) and Primitive Culture (2 vols.); J. W. Powell's Annual Reports of the Bureau of Ethnology (7 vols., beginning 1879-1880, Washington, D.C.); Keary's Outlines of Primitive Belief; Fiske's Myths and Myth-makers (Boston); Whitney's Oriental and Linguistic Studies; W. P. Johnston's The Origin of Myth; and of other works to which due reference is made in the footnotes and Commentary. The student is also referred to F. B. Jevons' edition of Plutarch's Romane Questions, translated by Philemon Holland (London, 1892) (introduction on Roman Mythology); and to C.G. Leland's Etruscan-Roman Remains in Popular Tradition (London, 1892). The Maps, furnished by Messrs. Ginn and Company from other of their publications, have, with the kind consent of the authors of those works, in some instances been adapted by me to suit the present purpose.
The principal authorities used in the selection of the illustrations of this new edition are: Baumeister, Denkmäler des klassischen Alterthums (3 vols., Munich, 1888); Furtwängler, Masterpieces of Greek Sculpture (London, 1905); Ernest Gardner, Ancient Athens (New York and London, 1902); Percy Gardner, A Grammar of Greek Art (New York and London, 1905); and Sculptured Tombs of Hellas (London, 1896); Percy Gardner and Jevons, A Manual of Greek Antiquities (London, 1895); Gerhard, Auserlesene griechische Vasenbilder (1840-1858); Gusman, Pompeii (London, 1900); Harrison and Maccoll, Greek Vase Paintings (London, 1894); E. von Mach, Handbook of Greek and Roman Sculpture (Boston, 1905); and Greek Sculpture, Its Spirit and Principles (Boston, 1903); A. S. Murray, Handbook of Greek Archæology (London, 1892); History of Greek Sculpture (2 vols., London, 1883); and Sculptures of the Parthenon (London, 1903); A. S. Murray and C. A. Hutton, Greek Bronzes and Terra Cotta Statuettes (London, 1898); C. O. Müller, Denkmäler der alten Kunst (Göttingen, 1832); Overbeck, Griechische Kunstmythologie (1871 – ); Emil Presuhn, Pompeii, 1874-1881 (Leipzig, 1882); Salomon Reinach, Peintures de vases antiques (including the collections of Millin, 1808, and Millingen, 1813 (Paris, 1891)), and Apollo (Paris, 1907); H. Roux Ainé, Herculaneum and Pompeii; Roscher, Ausführliches Lexikon der griechischen und römischen Mythologie (1884 – ) (Lieferungen 1-17 in Vol. I, 18 on in Vol. II); Anton Springer, Handbuch der Kunstgeschichte (I Alterthum, Leipzig, 1904); Charles Waldstein, The Argive Heræum (2 vols.); and the archæological periodicals as cited in the List of Illustrations.
The acknowledgment of assistance made in the former edition is here renewed.
CHARLES MILLS GAYLEYINTRODUCTION
THE STUDY OF MYTHOLOGY IN CONNECTION WITH ENGLISH POETRY AND WITH ART
Our American educational methods too frequently seek to produce the effect of polish upon a kind of sandstone information that will not stand polishing. With such fatuity many of our teachers in the secondary schools exercise their pupils in the study of English masterpieces and in the critical estimate of æsthetic qualities before acquainting them with the commonplace facts and fables that, transmitted through generations, are the material of much of our poetry because the material of daily converse, imagination, and thought. These commonplaces of tradition are to be found largely in the literature of mythology. Of course the evil would be neither so widespread nor so dangerous if more of the guardians and instructors of our youth were at home even among the Greek and Latin classics. But for various reasons, – some valid, as, for instance, the importance of increased attention to the modern languages and the natural sciences; others worthless, as the so-called utilitarian protest against the cultivation of "dead" languages, – for various reasons the study of the classics is at present considerably impaired. It is, therefore, incumbent upon our universities and schools, recognizing this fact and deploring it, to abate so far as possible the unfortunate consequences that proceed therefrom, until, by a readjustment of subjects of instruction and of the periods allotted them, the Greek and Latin classics shall be reinstated in their proper place as a means of discipline, a humanizing influence, the historic background against which our present appears. For, cut off from the intellectual and imaginative sources of Greece and Rome, the state and statesmanship, legislation and law, society and manners, philosophy, religion, literature, art, and even artistic appreciation, run readily shallow and soon dry.
Now, one evident means of tempering the consequence of this neglect of the classics is the study of them through translations and summaries. Such secondhand study must indeed be ever a makeshift; for the literature of a people inheres in its language, and loses its seeming and often its characteristic when caparisoned in the trappings of another speech, – an utterance totally dissimilar, the outcome of diverse conditions of physical environment, history, social and intellectual tradition. But in dealing with the purely imaginative products of antiquity, the inefficacy of translation may be somewhat offset if those products be reproduced, so far as possible, not in the prosaic but in the poetic atmosphere and in the imaginative garb of art. For though the phenomena of plastic art are not the same in one continent as in another, or from one century to the next, and though the fashion of poetry itself varies from age to age and from clime to clime, the genesis of imagination is universal, its products are akin, and its process is continuous. For this reason the study of the imaginative thought of the ancients through the artistic creations of the moderns is commended to students and readers as feasible and profitable.
The study of the classic myths stimulates to creative production, prepares for the appreciation of poetry and other kinds of art, and furnishes a clew to the spiritual development of the race.
1. Classic mythology has been for succeeding poetry, sculpture, and painting, a treasure house replete with golden tales and glimmering thoughts, passions in the rough and smooth, and fancies rich bejeweled. Like Virgil's Shadows that flit by the Lethean stream until at beck of Fate they revisit upper day and the ever-tranquil stars, these ghosts of "far-off things and battles long ago," peopling the murmurous glades of myth, await the artist who shall bestow on each his new and predetermined form and restore them, purified and breathing of Elysian air, to the world of life and ever-young mankind.
2. For the reader the study of mythology does, in this respect, as much as for poet, sculptor, or painter. It assists him to thrid the labyrinth of art, not merely with the clew of tradition, but with a thread of surer knowledge whose surest strand is sympathy.
The knowledge of mythic lore has led men in the past broadly to appreciate the motives and conditions of ancient art and literature, and the uniform and ordered evolution of the æsthetic sense. And, beside enriching us with heirlooms of fiction and pointing us to the sources of imaginative joy from which early poets of Hellenic verse, or Norse, or English, drank, the classic myths quicken the imaginative and emotional faculties to-day, just as of old. How many a man held by the sorrows of the Labdacidæ or the love of Alcestis, by some curious wonder in Pausanias, or some woe in Hyginus, has waked to the consciousness of artistic fancy and creative force within himself! How many, indifferent to the well-known round, the trivial task, the nearest care of home, have read the Farewell to Andromache and lived a new sympathy, an unselfish thrill, a purified delight! And not only as an impulse toward artistic output, or patriotic devotion, or domestic altruism, but as a restraining influence, a chastener of æsthetic excess, a moderator of the "unchartered freedom" that knows no mean between idolatry and loathing, of the foolish frenzy that affects new things, abnormal and sensational, in literature, music, and the plastic arts, – as such a tutor and governor is the study of beautiful myths invaluable. Long familiarity with the sweet simplicity, the orderly restraint, the severe regard, the filial awe that pervade the myths of Greece and Rome, – or with the newness of life and fullness and wonder of it, the naïveté and the romance, of Eddic lore, – cannot but graciously temper our modern estimate of artistic worth.
The study, when illustrated by masterpieces of literature and art, should lead to the appreciation of concrete artistic productions of both these kinds.
It goes without saying that a rational series of somewhat consecutive stories is more serviceable to the reader than a congeries of data acquired by spasmodic consultation of the classical dictionary, – a mass of information bolted, as it were, but by no means digested. If, moreover, these stories are narrated in genealogical and realistic sequence and are illustrated by lyric, narrative, and descriptive passages of modern literature, there is furnished not only that material of allusion and reference for which the student nowadays trusts to meager and disjointed textbook notes, but a potentiality that should render the general reading of belles-lettres more profitable. For a previous acquaintance with the material of literary tradition heightens the appreciation of each allusive passage as it is encountered; it enables the reader to sympathize with the mood and to enter into the purpose of the poet, the essayist, the novelist, the orator; it expands the intellectual lungs for the atmosphere breathed by the artist, at any rate for a literary and social atmosphere less asthmatic than that to which so many of us are unconsciously habituated. Of course all this advantage would far better result from the first-hand nutriment and discipline of the Greek and Latin classics; of course direct familiarity with the writers of Greece and Rome is the sine qua non of level-headed criticism and broad evaluation of modern literature; and, of course, a sympathy with the imaginings of old is the best incentive to an æsthetic estimate not only of art but of nature to-day; but if our American pupils and many of their teachers cannot quaff Massic and Falernian, they do well to scent the bouquet. In time a sense of flavor may perchance be stimulated, and ultimately a desire for nearer acquaintance with the literatures that we inherit.
The study of these ancient tales serves, then, much more than the purpose of special information. It refines the æsthetic judgment in general, and heightens the enjoyment of such works of literature as, not treating of mythical or classical subjects, still possess the characteristics of the classic: the unconscious simplicity, the inevitable charm, and the noble ideality. The Lycidas, the Adonais, the Thyrsis, the In Memoriam, the Ode to Duty, the Bothie of Tober-na-Vuolich, the Hymn of Man, Love is Enough, Prospice, Festus, the Ode of Life, the Dream of Gerontius, Lying in the Grass, and Simmenthal must mean little to one devoid of the spirit of classicism.
In respect of art a similar inspiration, aid, instruction, are afforded by the study. This volume is liberally supplied with cuts of famous paintings and sculptures of mythical subjects. Familiarity with specimens of ancient art, even through the medium of photography and engraving, must not only cultivate the historic sense but stimulate the æsthetic. The cruder efforts of the ancients, no less than the more refined, are windows through which we view the ancient mind. The frequent contemplation of their nobler efforts and of the modern masterpieces here reproduced may avail to lift some from the level of apathy or provinciality in matters of imagination; some it may spur to a study of the originals, some to artistic creation. A public which, from year to year, displays a deeper interest in the art of foreign lands will despise no auxiliary to a more intelligent appreciation of that art. A country whose future in artistic achievement cannot be prophesied in a paragraph will more and more truly recognize the value of a study that is an introduction to much that is best in art as it exists.