Chapter XXXII: The Preservation of Myths (2)

_=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.