Chapter XIII: Part III: The Heroes (3)

In Heracles ancient art sought to portray the conception of gigantic
bodily strength. He is, therefore, generally represented as a
full-grown man—rarely as a child or youth. We may observe the manner
in which the prominent idea of physical force is expressed by
regarding the formation of the neck and throat in the statue of
Heracles. Nothing can express better a bull-like strength than the
short neck and the prominent muscles, especially if associated with
a broad, deep chest. We shall be able to appreciate this distinctive
character still more clearly if we compare the form of Heracles with
that of the ideal god Apollo, whose neck is especially long and
slender. The figure of Heracles is, moreover, characterised by a
head small in comparison with the giant body; by curly hair, bushy
eyebrows, and muscular arms and legs. This conception was
principally developed by Myron and Lysippus. A statue of Heracles by
the former artist played a part in connection with the art robberies
of Verres in Sicily. Lysippus erected several celebrated statues of
Heracles, the most remarkable of which was the bronze colossus in
Tarentum, which the Romans, after the capture of that town,
transferred to the Capitol. Thence it was brought, by order of
Constantine, to his new capital of Constantinople, where it remained
until the Latin crusade of 1202, when it was melted down. Lysippus
portrayed in this statue a mourning Heracles, which no one had ever
attempted before him. The hero appeared in a sitting posture,
without his weapons, his left elbow resting on his left leg, while
his head, full of thought and sorrow, rests on the open hand. The
same artist, in a still greater work, depicted the twelve labours of
Heracles. These formed a group which was originally executed for
Alyzia, a seaport town of Acarnania, but which was, subsequently,
likewise transferred to Rome.

First among existing statues is the Farnese Hercules (Fig. 58). This
celebrated colossal statue, now in the Naples Museum, was discovered
in 1540, on the site of the Thermæ of Caracalla. The hero is
standing upright, resting his left shoulder on his club, from which
hangs his lion’s skin. This attitude, as well as the head drooping
towards the breast, and the gloomy gravity of his countenance,
clearly show that the hero feels bowed down by the burden of his
laborious life. Even the thought that he is soon to be released from
his ignominious servitude (he holds behind him, in his right hand,
the three apples of the Hesperides, the fruit of his last labour) is
unable to cheer him, and his thoughts seem to revert only to the
past. On account of the conception of the piece, and the existence
of another copy bearing the name of Lysippus, the Farnese Hercules
is supposed to be a copy of a work of Lysippus, of which nothing
further is known.

Still more important as a work of art, though it has reached us in a
terribly mutilated condition—minus head, arms, and legs—is the
celebrated Torso of Hercules, in the Vatican. This was found in Rome
during the reign of Pope Julius II., on a spot where the theatre of
Pompey, of which it was probably an ornament, once stood.

_Groups._—Heracles in action was a still more favourite subject with
artists, who delighted to portray the different scenes of his
versatile life. Numberless representations of such scenes occur, not
only in the form of statues and works in relief, but more especially
on ancient vases. We mention here, in the chronological order of the
events, some of the most important.

_1. Heracles and the Serpents._—This scene was early depicted by the
celebrated painter Zeuxis, who represented Heracles as strangling
the serpents, whilst Alcmene and Amphitryon stood by in amazement.
There are also several statues representing this feat, among which
that at Florence takes the first rank. There is also a painting from
Herculaneum in the Naples Museum.

_2. The Twelve Labours._—These have naturally been treated of times
out of number. We have already mentioned the groups of Lysippus,
which he executed for the town of Alyzia. A still existing bronze
statue in the Capitoline Museum, representing Heracles battling with
the Hydra, appears to belong to this series. Among interesting
remains are the metope reliefs on the Theseum at Athens. Ten on the
east side of the temple represent scenes from the life of Heracles.
Nine of them belong to the twelve labours, viz., the Nemean lion,
the Hydra, the Arcadian hind, the Erymanthian boar, the horses of
Diomedes, Cerberus, the girdle of Hippolyte, Geryon, and the
Hesperides; whilst the tenth tablet represents his contest with
Cycnus. The remains of the splendid temple of Zeus at Olympia, which
was completed about 435 B.C., are less important. The metopes of the
front and back of the temple contained six of the labours of
Heracles. Those representing the contest with the Cretan bull, the
dying lion, a portion from the fight with Geryon, and some other
fragments, were found in 1829, and conveyed to the museum of the
Louvre at Paris. The only one which is perfect, however, is the
spirited and life-like representation of the struggle with the
Cretan bull.

_3. Parerga_ (_Subordinate Deeds_).—First among these come the
scenes from his contest with the Centaurs, which were frequently
treated of in art. Groups of these exist in the museum at Florence;
there are also various representations to be found on vases. His
adventure with Nessus is represented separately on a Pompeian
painting in the Naples Museum; Nessus crouches in a humble posture
before Heracles, who has the little Hyllus in his arms, and he
appears to be asking permission to carry Deïanira across the stream.
There is also an interesting representation of the release of
Prometheus on the Sarcophagus of the Capitol, from the Villa
Pamfili, which is, in other respects, also worthy of mention. The
seizure of the tripod at Delphi is also frequently portrayed in art.

_4. Heracles and Omphale._—Of the monuments referring to Heracles’
connection with Omphale, the most important is the beautiful Farnese
group in marble in the Naples Museum. Omphale has thrown the lion’s
skin round her beautiful limbs, and holds in her right hand the
hero’s club. Thus equipped, she smiles triumphantly at Heracles, who
is clothed in female attire, with a distaff in his hand.

_5. Heracles and Telephus._—The romantic history of Telephus was
also frequently treated of in art. The Naples Museum possesses a
fine painting, representing the discovery of the child after it has
been suckled by the hind, on which occasion, strange to say,
Heracles himself is present. In the Vatican Museum there is a fine
marble group, representing Heracles with the child Telephus in his
arms.

=7. Attic Legend.=—_1. Cecrops._—Cecrops, the first founder of civilisation in Attica, plays a similar part here to that which Cadmus does in Thebes. Like Cadmus, he was afterwards called an immigrant; indeed he was said to have come from Sais in Lower Egypt. In his case, however, we are able to trace the rise of the erroneous tradition with far greater distinctness. Pure Attic tradition recognises him only as an autochthon—that is, an original inhabitant born of the earth; and further adds, that, like the giants, he was half man and half serpent. As the mythical founder of the state, he was also regarded as the builder of the citadel (Cecropia); and marriage, as well as other political and social institutions, were ascribed to him. Perhaps he is only a local personification of Hermes. The probability of this view is greatly enhanced by the fact that his three daughters, Herse, Aglaurus, and Pandrosus, received divine honours. It was under Cecrops that the celebrated contest occurred between Poseidon and Athene for the possession of Attica, and was by his means decided in favour of the goddess. We have already given an account of it, and need only here remark that the story is purely the result of the observation of natural phenomena. In Attica, in fact, there are only two seasons—a cold, wet, and rainy winter (Poseidon), and a warm, dry, genial summer (Pallas). These seem to be continually striving for the supremacy of the land. Cecrops was succeeded in the government by Cranaüs, who is represented by some as his son. The common mythological account places the flood of Deucalion in his reign. After the expulsion of Cranaüs, Amphictyon, one of the sons of Deucalion, succeeded to the sovereignty of Attica, of whom nothing more is known than that he was deprived of the government by Erechtheus.

_2. Erechtheus, or Erichthonius._—Erechtheus, or Erichthonius, is really only a second Cecrops—the mythical founder of the state after the flood, as Cecrops was before it. Being also earthborn, he is, like Cecrops, endowed with a serpent’s form. There was another very sacred legend concerning him, which stated that Gæa (Ge), immediately after his birth, gave him to the goddess Pallas to nurse. The latter first entrusted him to the daughters of Cecrops, her attendants and priestesses, enclosed in a chest. The latter, however, prompted by curiosity, opened the chest, contrary to the commands of the goddess, and were punished in consequence with madness. Erichthonius was now reared by the goddess herself in her sanctuary on the citadel, and was subsequently made king of Athens. The same stories are then related of him as of Cecrops—that he regulated the state, introduced the worship of the gods, and settled the dispute between Poseidon and Athene.

The tomb of Erechtheus was shown in the Erechtheum, the ancient temple dedicated to Athene Polias, where the never-dying olive tree created by the goddess was also preserved.

Two among the daughters of Erechtheus are celebrated in legend. The first is Orithyia, who was carried off by Boreas, and became the mother of Calaïs and Zetes, whom we come across again in the story of the Argonauts; the other is Procris, the wife of the handsome hunter Cephalus, who was said to be a son of Hermes by Herse, the daughter of Cecrops. Cephalus was carried off by Eos, who was unable to shake his fidelity to his wife. It served, however, to excite the jealousy of the latter, which ultimately proved fatal to her. Procris had hidden herself among the bushes, in order to watch her husband, when Cephalus, taking her for a wild animal, unwittingly killed her. After the death of Erechtheus, the tragic poets relate that Ion, the mythical ancestor of the Ionians, ruled in Athens. This means nothing more than that the primitive Pelasgian age in Attica had now come to an end, and the dominion of the Ionians commenced.

_3. Theseus._—Theseus is the national hero of the Ionians, just as Heracles is of the Æolians. He has not unjustly been called the second Heracles; and he has, indeed, many features in common with the Æolian hero, since the national jealousy of the Ionians led them to adopt every possible means of making their own hero rival that of their neighbours. They therefore strove to represent him, likewise, as a hero tried in numberless contests—generous, unselfish, and devoted to the interests of mankind—and of course ascribed to him a multitude of adventurous exploits. There is no great undertaking of antiquity in which Theseus is not supposed to have taken part, and he was even sent on an expedition to hell, in imitation of Heracles.

He was the son of the Athenian king Ægeus, whom mythological tradition made a great-grandson of Erechtheus. After his father Pandion had been driven out by his relations, the sons of Metion, Ægeus betook himself to Megara, where he was hospitably received by the ruler, Pylas. From Megara, Ægeus, Pallas, Nisus, and Lycus, the sons of Pandion, undertook an expedition against Athens, which ended in the expulsion of the Metionidæ, and the restoration of the former royal family in the person of Ægeus. Such, at least, is the tradition; although it is more probable that Athens never had a king of this name, and that Ægeus (wave-man) is only a surname of Poseidon, the chief deity of the seafaring Ionians. Ægeus, though twice married, had no heir, and now undertook a journey to Delphi to seek the advice of the oracle. On his way back he stopped at the court of Pittheus, king of Trœzen, and became, by his daughter Æthra, the father of Theseus. Before his departure, he placed his sword and sandals beneath a heavy stone, and commanded Æthra to send his son to Athens as soon as he was able to move the stone and take his father’s sword. Theseus was carefully trained in music and gymnastics by the sagacious Pittheus, and soon developed into a stately youth. He is also supposed to have been educated by the Centaur Chiron, whose instruction had now become a necessary item in the education of a real hero.

When Theseus was sixteen, his mother took him to the stone beneath which lay his father’s sword and sandals. With a slight effort he raised the stone, and thus entered on his heroic career. His earlier adventures consisted in overcoming a series of obstacles that beset him in his journey from Trœzen to Athens. They are generally supposed to have been six in number.

1. Between Trœzen and Epidaurus he slew Periphetes, the son of Hephæstus—who was lame, like his father—because he was in the habit of murdering travellers with his iron club; whence he is called Corynetes, or club-bearer.

2. He next delivered the Isthmus from another powerful robber called Sinis. He used to fasten travellers who fell into his hands to the top of a pine tree, which he bent to the earth, and then allowed to recoil; after which, on their reaching the ground, he would kill them outright; whence he is called Pityocamptes, or pine-bender. Theseus inflicted the same fate on him.

3. In the woody district of Crommyon he destroyed a dangerous wild sow that laid waste the country.

4. Not far from this, on the rock of Sciron, on the borders of Megara, dwelt another monster, called Sciron, who compelled travellers to wash his feet, and then kicked them into the sea. Theseus served him in a similar fashion.

5. In the neighbourhood of Eleusis he vanquished the giant Cercyon, who compelled all who fell into his hands to wrestle with him.

6. His last combat awaited him on the confines of Eleusis, where dwelt the inhuman Damastes. This monster used to lay his victims in a bed: if this was too short, he would hack off their projecting limbs; if too long, he would beat out and pull asunder their limbs, whence he is called Procrustes. He was also slain by Theseus.

On reaching Athens, he found his father Ægeus in the toils of the dangerous sorceress Medea, who had fled from Corinth to Athens. She was on the point of making away with the newcomer by poison, when Ægeus, fortunately, recognised him by the sword he bore, and preserved him from his impending fate.

Medea was compelled to flee; but a new danger awaited the hero from the fifty sons of Pallas, who had reckoned on succeeding their childless uncle Ægeus. Theseus, however, slew some in battle and expelled the rest.

He now undertook his greatest and most adventurous feat, in order to free his country from its shameful tribute to Minos, king of Crete, whose son, the youthful hero Androgeos, had been treacherously murdered by the Athenians and Megareans. Another account says that he was sent by Ægeus against the bull of Marathon, and thus slain. At any rate, Minos undertook a war of revenge. He first marched against Megara, of which Nisus, the brother of Ægeus, was king. Minos conquered him by means of his own daughter Scylla, who became enamoured of Minos, and cut off from her father’s head the purple lock on which his life depended. After having taken Megara and slain Nisus, Minos marched against Athens. Here he was equally successful, and compelled the vanquished Athenians to expiate the blood of his son by sending, every eight or (according to the Greek method of reckoning) every nine years, seven youths and seven maidens to be devoured by the Minotaur. This was a monster, half man and half bull. Twice already had the bloody tribute been sent, and the third fell just after Theseus’ arrival in Athens; he at once bravely offered to go among the allotted victims. He was resolved to do battle with the Minotaur, and to stake his life on the liberation of his country from the shameful tribute. Under the guidance of Aphrodite he passed over to Crete, and soon discovered the efficacy of her protection. The goddess kindled a passionate love for the hero in the breast of Ariadne, the daughter of Minos. Ariadne rendered him every possible assistance in his undertaking, and especially presented him with a clew of thread, by means of which Theseus, after having slain the Minotaur, was enabled to find his way out of the Labyrinth. We have already narrated how Ariadne was deserted by Theseus on the isle of Naxos, only to become the bride of Dionysus, the divine son of Semele. Theseus also landed at Delos, where he instituted the festival of the Delia in honour of the divine children of Leto. On reaching Athens, he showed his gratitude to his divine protectress by the institution of the worship of Aphrodite Pandemus. In honour of Dionysus and Ariadne, he instituted the Oschophoria, in which festival Athene also had a share. Lastly, in honour of Apollo, he instituted the Pyanepsia, a festival which was celebrated on the seventh day of the month Pyanepsion (end of October).

The happy return of Theseus from his Cretan expedition, however, proved the death of his aged father. Ægeus, as he stood on the coast looking for his son’s return, perceived that the ships had black sails instead of white, which were to have been hoisted in the event of his son’s success; and believing that all was lost, he cast himself headlong into the sea. This story was perhaps only invented to account for the name of the Ægean Sea.

With regard to the other exploits of Theseus, there exists the greatest variety of accounts as to the order in which they took place. As king, he is said to have been the first to unite the separate districts of Attica into one political community, with one state Prytaneum, and to have instituted the festival of the Panathenæa in commemoration of this event. The following, among his later exploits, are worthy of mention:—

1. He captured the bull of Marathon (said to have been the same which Heracles brought alive from Crete), and sacrificed it in Athens to Apollo Delphinius.

2. He assisted his friend Pirithoüs, the prince of the Lapithæ, in his contest with the Centaurs.

3. He undertook with Pirithoüs an expedition to Lacedæmon, in which they carried off Helen, the sister of the Dioscuri.

4. At the request of Pirithoüs, he accompanied him to the lower world to carry off Persephone; but Hades, enraged at their audacity, caused them both to be bound in chains and fastened to a rock. Theseus was rescued from this plight by Heracles, but during his absence the Dioscuri had released their sister from Aphidnæ, where she was confined.

5. He next joined Heracles in his expedition against the Amazons, and received, as the reward of victory, their queen Antiope, or Hippolyte. Another tradition asserts that Antiope followed him of her own free will to Athens, where she was married to him, and became the mother of Hippolytus, famed for his unhappy fate. His great beauty caused his step-mother Phædra, a later wife of Theseus, and a sister of Ariadne, to fall in love with him. As he withdrew himself from her dishonourable proposals by flight, she accused him to his father of attempts on her virtue. Theseus, in his wrath, besought Poseidon to punish his faithless son; and the god, who had sworn to grant any request of Theseus, sent a wild bull (_i.e._, a breaker) out of the sea as Hippolytus was driving in his chariot along the sea-shore. This so terrified his horses that Hippolytus was thrown from his chariot, and dragged along the ground till he was dead. This story—the scene of which was afterwards transferred to Trœzen, whither Theseus was supposed to have fled on account of a murder—was dealt with in a touching manner by the tragic poets. The _Hippolytus_ of Euripides is still extant.

6. As a result of the carrying off of Antiope, a second contest with the Amazons was subsequently invented, in which Theseus was engaged alone, and which took place in the immediate neighbourhood of Athens. The Amazons are supposed to have invaded Attica, in order to release their queen. Antiope, however, was so enamoured of Theseus that she refused to return, and fought at her husband’s side, against her kindred, until she was slain.

Lastly, Theseus is said to have taken part in the Calydonian boar hunt, and also in the expedition of the Argonauts, of which we shall have more to say hereafter.

The death of Theseus is commonly agreed to have taken place in the following manner:—He had been deprived of the sovereignty of Athens by Menestheus, who was aided by the Dioscuri; and then withdrew to the island of Scyros. Here he was at first hospitably received, but subsequently murdered in a treacherous manner by Lycomedes, the ruler of the island. Demophoön, the son of Theseus, is said to have afterwards recovered his father’s kingdom. At a still later period the bones of the hero were brought to Athens by Cimon, at the command of the Delphic oracle. Cimon is also supposed to have caused the erection of the temple of Theseus, which still exists in Athens, and serves as an art museum. The eighth day of every month was held sacred to Theseus, besides which he had a special festival, called the Thesea, on the eighth of Pyanepsion.

Art has followed the example of the poets and mythologists in
depicting Theseus as a second Heracles. Here, however, the
characteristic differences that existed between the Doric and Ionic
races become apparent. Just as the latter race surpassed the former
in elasticity, both of mind and body, so their national hero gives
token not only of a higher intellectual being, but also of a body
more lithe, and capable of greater swiftness and dexterity, than
that of the Doric hero. The slighter and more elegant form of
Theseus lacks, perhaps, the sheer brute strength of Heracles, but is
compensated by the possession of a far greater degree of activity
and adroitness. The expression of face is more amiable and the hair
less bristling than that of Heracles, while there is generally no
beard. Such is Theseus as depicted by Greek art at the epoch of its
full development; later art strove to render the form of the body
still more lithe and graceful. The costume of Theseus consists, like
that of his prototype Heracles, of a lion’s skin and club; sometimes
also of the chlamys and petasus of the Attic youth. Existing art
monuments are far less numerous in his case than in that of
Heracles. If the explanation is correct, the British Museum
possesses a Theseus of priceless value. Among the statues of the
Parthenon which have been preserved, there is one of a figure
negligently reclining on a lion’s skin, which, with the exception of
the nose, hands, and feet, is in a tolerably good state of
preservation (Fig. 59). It belonged to the great group of the east
gable, which represented the first appearance of the new-born Athene
to the astonished gods. It is the figure of a youth in his prime,
somewhat larger than life, and altogether a perfect ideal of manly
beauty.

A representation of the conflict of Theseus with the invading army
of the Amazons still exists on a large piece of frieze-work, which,
together with the representations of the battle of the Lapithæ and
Centaurs (which have been already mentioned), formerly decorated the
walls of the shrine of Apollo’s temple in Phigalia, and is now the
property of the British Museum. Among the Greek warriors Theseus may
be easily recognised by his lion’s skin and the club, which he is in
the act of swinging against a mounted Amazon, probably the leader of
the hostile army. We give an engraving of the scene where Theseus
obtained the sword and sandals of his father from beneath the rock,
after a relief in the Villa Albani (Fig. 60).

=8. Cretan Legend.=—_1. Minos and the Minotaur._—Cretan myths are both obscure and difficult of interpretation, because Phœnician and Phrygian influences made themselves felt at a very early period, and native sources fail us. Minos is commonly supposed to have been the first king of the country. He was the son of Zeus and Europa, who is called in Homer a daughter of Phœnix. This Phœnix was subsequently made into Agenor, a Phœnician, king of Sidon; and the story then arose that Zeus, in the form of a white bull, had carried off Europa, and arrived with his lovely prey in Crete. Europa is there said to have given birth to Minos, Rhadamanthys (Rhadamanthus), and some say Sarpedon. She afterwards married Asterion, who brought up the sons of Zeus as his own children, and, at his death, left the kingdom to Minos. He, after expelling his brothers Sarpedon and Rhadamanthus, became sole king of Crete. Of his brothers, Sarpedon went to Lycia, whilst the pious Rhadamanthus found a refuge in Bœotia. Minos next married Pasiphaë, a daughter of Helios and Perseïs, by whom he became the father of Catreus, who succeeded him, Deucalion, Glaucus, and Androgeos, besides several daughters, of whom the most celebrated are Ariadne and Phædra. Minos gave wise laws to his people, and became supreme at sea among the isles of the Ægean Sea, and even as far as Attica. In his name we find the same root (meaning “to think”) which we have seen in Minerva, and which appears in the name of the Indian lawgiver Manu.

In order to vindicate his right to the crown, Minos besought Poseidon to send him a bull out of the sea, which he was then to sacrifice to the god. Poseidon granted his prayer, but Minos was induced by the beauty of the animal to place it among his own herds. As a punishment of his perfidy, Poseidon kindled in the breast of Pasiphaë an unnatural love for the bull, and the fruit of their connection was the Minotaur. This was a monster, half man and half bull, which Minos shut up in the labyrinth that had been made by the skill of Dædalus. The food of the monster consisted of human beings, who were partly criminals and partly youths and maidens, sent as tribute from the subjugated countries. This lasted until Theseus came to Crete, and, with the aid of Ariadne and Dædalus, destroyed the Minotaur. Such is the substance of this perplexing mythical tradition, of which the simplest interpretation is that the Minotaur was originally an ancient idol of the Phœnician sun-god Baal, which had the form of a bull, and to which human sacrifices were offered. The destruction of the Minotaur by Theseus is a symbol of the triumph of the higher Greek civilisation over Phœnician barbarism, and the consequent abolition of human sacrifices.

Closely connected with the royal family of Crete we find Dædalus, the most celebrated artist of the legendary period. He is said to have been a son of Metion, and a descendant of Erechtheus, and to have fled from Athens to Crete after murdering his nephew Talus in a fit of professional jealousy. During his residence in Crete he constructed the Labyrinth, an underground building with an endless maze of passages, as a dwelling-place for the Minotaur; besides many other wonderful works of art. For having aided Theseus in his combat with the Minotaur, Dædalus and his son Icarus were both imprisoned in the Labyrinth of Minos. The story of his flight, which he accomplished by means of the artificial wings that he made for himself and his son, is well known from the _Metamorphoses_ of Ovid. Icarus fell into the sea that is named after him, and was drowned, but Dædalus reached Cumæ in safety. From this place he passed over to Sicily, where he was hospitably received by Cocalus. When Minos, however, pursued the fugitive and demanded his surrender, not only was his request refused, but he was even put to death by the contrivance of the king’s daughters.

Of the other sons of Minos, Deucalion is celebrated as having taken part in the Calydonian boar hunt, and also as the father of the hero Idomeneus, who fought against Troy. Glaucus was killed, while yet a boy, by falling into a cask of honey as he was pursuing a mouse. He is reported, however, to have been restored to life by the Corinthian augur Polyidus, or, according to others, by Asclepius himself.

_2. Talos._—The legend of Talos, the brazen man, betrays likewise a Phœnician origin, and refers to the cruel practice of offering human sacrifices. This Talos was made of brass, and was invulnerable. Hephæstus, or, as others say, Zeus gave him to Minos as guardian of the island of Crete, round which he travelled thrice a-day. If he perceived any strangers approach he would spring into the fire, and, after becoming red-hot, he would clasp them to his breast, until they expired beneath the sardonic chuckle of the demon. He attempted to drive off the Argonauts with stones, but was destroyed by the skill of Medea. Talos had a single vein, which ran from his head to his feet, and was closed at the top with a nail. This nail Medea cleverly succeeded in extracting, in consequence of which Talos bled to death.

IV.—COMBINED UNDERTAKINGS OF THE LATER HEROIC AGE.

=1. The Calydonian Hunt.=—The story of Meleager and the Calydonian boar hunt was undoubtedly, in its origin, nothing more than a provincial myth based on natural phenomena, like other myths that we have already explained. In this case the physical significance involved in the myth soon disappeared, owing to the treatment it received at the hands of the epic and dramatic poets. The poets, in fact, succeeded in introducing some striking ethical conceptions, which absorbed all higher interest.

Œneus, king of Calydon in Ætolia, on the occasion of a great festival which was celebrated after a successful vintage, had accidentally or purposely omitted to sacrifice to Artemis. To punish this neglect she sent a huge wild boar, which devastated the fields of Calydon, and seemed invincible by any ordinary means on account of its vast size. Meleager, the brave and heroic son of Œneus, therefore assembled men and hounds in great number to slay it. The boar was slain; but Artemis stirred up strife over the head and hide between the Ætolians and the Curetes of Pleuron. At first the former were victorious; but when Meleager withdrew in wrath from the battle because his mother had cursed him for the death of her brother, they were no longer able to keep the field, and soon saw their city closely invested by their enemies. In vain did the elders and priests of Calydon beseech Meleager; in vain did his father, sisters, and even mother beseech him to aid his hard-pressed countrymen. Like Achilles in the Trojan war, when he was wroth with Agamemnon on account of the loss of Briseis, Meleager long refused to stir. At last his wife—the beautiful Cleopatra—succeeded in moving him. He donned his armour, and put himself at the head of his countrymen for a sally against the besiegers. Brilliant, indeed, was the victory of the men of Calydon; but the hero Meleager did not return from the battle, for the cruel Erinyes, who had heard his mother’s curse, destroyed him with the arrows of Apollo.

Such is the earliest form of the legend, as it exists in the _Iliad_. In time, however, Meleager was said to have called together against the boar all the renowned heroes of Greece. Among others there came the Dioscuri, Castor and Pollux; Theseus and his friend Pirithoüs; Idas and Lynceus, the sons of Aphareus; Admetus of Pheræ; Jason, from Iolcus; Iphicles and Iolaüs, from Thebes; Peleus, the father of Achilles; Telamon, from Salamis; Ancæus and the beautiful huntress Atalante (Atalanta), from Arcadia; besides the soothsayer Amphiaraüs, from Argos. After Œneus had entertained his guests royally for nine days, the hunt began, and the huge beast, which was as large as an ox, was surrounded and driven from its lair. Atalante, the swift huntress, was the first to inflict a wound. Ancæus then advanced with his battle-axe, but the enraged beast, with one stroke of his dreadful tusks, tore open his body and killed him on the spot. At length the monster received a mortal wound from a spear hurled by the powerful arm of Meleager, and was soon despatched by the rest. Meleager received as his due the head and hide of the slaughtered animal, but resigned the prize to Atalante, of whom he was enamoured, on the ground that she was the first to wound the boar. This act excited the bitter jealousy of Plexippus and Toxeus, the sons of Thestius, king of Pleuron, and brothers of Althæa, the mother of Meleager. They accordingly lay in wait for Atalante, and robbed her of the present. Enraged at this, Meleager slew them both. But Meleager’s death, though caused by the wrath of his mother, was worked out differently in the time of the tragic poets. The Fates had appeared to Althæa, soon after the birth of Meleager, and informed her that her son would only live until a certain brand, which was then burning on the fire, was consumed. Althæa immediately snatched the brand from the flames and carefully treasured it up. After Meleager had slain her brothers, in the first outburst of grief and indignation against her son, she placed the brand again in the fire, and thus cut off the noble hero in the prime of his youth and beauty. Althæa, on learning the unhappy fate of her son, full of sorrow for her hasty deed, put an end to her own life.

=2. The Argonauts.=—The story of the Argonauts experienced a similar fate to that of the Calydonian hunt. It was originally nothing but a myth based on natural phenomena; but in the hands of the poets it swelled to a mass of legends common to all the tribes of Greece, the nucleus of which was the history of the golden fleece. Athamas, the son of Æolus, was king of the Minyæ. He put away his first wife, Nephele (cloud), in order to marry Ino, the daughter of Cadmus; though he still kept Phrixus (rain-shower) and Helle (ray of light), his children by Nephele, with him. By Ino he had two other children, Learchus and Melicertes, whom their mother naturally preferred to her stepchildren, and for whose sake she endeavoured to drive the latter from their father’s house. Soon afterwards, either at the command of Nephele, whom some represent as a goddess, or in consequence of her prayers for the punishment of Athamas, the land was visited with a long drought, and Ino persuaded her husband to sacrifice Phrixus as a sin-offering to Zeus, in order to put an end to the calamity. Whether Helle was to have shared her brother’s fate we cannot tell, for, before Ino could accomplish her purpose, Nephele came to the assistance of her children, and gave them a winged ram with a golden fleece, which Hermes had presented to her for that purpose. Seated on this ram they fled over the sea to Colchis. On the way Helle fell into that part of the sea which bears her name, and was drowned, but Phrixus arrived safely in Colchis (Æa), where he sacrificed the ram to Zeus, who had preserved him in his flight. The fleece he hung up in the grove of Ares as a sacred treasure, setting over it a terrible, ever-watchful dragon as its guardian. To fetch this treasure from a foreign land, and thereby to release the country and people of the Minyæ from the calamity with which they were oppressed, was the task of the heroes of the race of Æolus. Athamas was so grieved at the evil he had brought on his country that he became insane, and sought to slay Ino and her children. He did, indeed, kill Learchus by dashing him against a rock, but Ino succeeded in saving herself and her younger child Melicertes by leaping into the sea (_cf._ Ino Leucothea). Athamas then fled to Epirus, and the kingdom devolved on his brother Cretheus. Cretheus married Tyro, the daughter of his younger brother Salmoneus, king of Elis. Tyro bore him three sons, the eldest of whom, Æson, succeeded his father in the kingdom, but was soon after expelled by his step-brother Pelias, who is described as a son of Tyro and Poseidon. Æson with difficulty managed to rescue his little son Jason from the hands of Pelias, and brought him to the Centaur Chiron to be educated. In Chiron’s cave the young hero grew up, a favourite with gods and men. After completing his twentieth year, he betook himself to Iolcus to demand of his uncle his rightful inheritance. Pelias, not daring to use violence to the sturdy youth, endeavoured to get rid of his unwelcome guest by involving him in a most dangerous adventure. He declared that he would gladly resign the crown if Jason would recover the golden fleece from Colchis. Jason, like a true hero, at once accepted the perilous adventure. In the harbour of Iolcus he caused a large ship with fifty oars to be constructed, which he called the “Argo,” after its builder, Argus. He then called together the heroes, who had consented at his invitation to take part in the expedition. In the original version of the story, the expedition was stated to have been undertaken only by the heroes of the race of the Minyæ—such as Acastus, Admetus, and Periclymenus. At a later period, however—when the date of the expedition had been fixed at one generation before the Trojan war—no hero of any note was allowed to be absent from the undertaking. In this manner were added the Dioscuri, the sons of Boreas, Calaïs and Zetes, Telamon, Peleus, Meleager, Tydeus, Iphitus, Theseus, Orpheus, Amphiaraüs, and even Heracles. In the last case, the incongruity of allowing the hero to play only a subordinate part was soon felt, and his name was withdrawn. He was said to have been left behind in Mysia, where he had landed in order to search for his favourite Hylas, who had been carried off by the Naiads. The number of the Argonauts was finally computed at fifty, tallying with the number of oars.

The expedition proceeded from Iolcus to Lemnos, and thence through the Hellespont to Cyzicus, where they were kindly received by the Doliones. From Cyzicus they proceeded to Bithynia, where they were opposed by the Bebryces, whose king, Amycus, was slain by Pollux in a boxing match. Their greatest difficulty lay in the passage of the Bosporus, there being at the entrance of the Pontus (Black Sea) two terrible rocks, which were in constant motion—now retreating to the shore on either side, now hastily dashing together again; whence they were called the Symplegades. This occurred so rapidly that even the swiftest vessel had not time enough to get through. The Argonauts were in great perplexity. At length the blind seer Phineus, who dwelt in Thracian Salmydessus, and whose gratitude they won by delivering him from the Harpies who had tormented him, assisted them with his advice. By means of a stratagem he recommended they were enabled to bring the Argo through without any considerable damage, after which the Symplegades remained stationary. After this they stood along the south coast towards their destination, which, in the original legend, appears to have been the utterly fabulous Æa, subsequently converted into Colchis. This was the residence of the mighty king Æetes, a son of the sun-god. To rob him, either by craft or by violence, of the golden fleece was the task of Jason, the leader of the Argonauts.

The second prominent character in the story, Medea, the daughter of Æetes, now makes her appearance. It was, in fact, only through her love that Jason was enabled to surmount the vast obstacles which stood between him and the possession of the golden fleece. When the hero demanded the fleece of Æetes, the latter declared that he would deliver it up to him after he had accomplished two tasks. The first was to harness two brazen-footed, fire-breathing bulls, which Æetes had received from Hephæstus, to a plough, and with them to till an uncultivated field. The second was to sow in the furrows the dragon’s teeth that Æetes would give him, and to destroy the armed men which would then spring up. Jason’s heart failed him on hearing these conditions, but Medea, who was an enchantress and priestess of Hecate, was equal to the occasion. She gave the hero a magic salve to protect him against the fiery breath of the bulls and to endow him with invincible strength, which enabled him to accomplish his first task successfully. In the case of the armed men who sprang from the dragon’s teeth, by the advice of Medea he followed the example of Cadmus, and cast among them a heavy stone, whereupon in blind fury they turned their arms against each other, and were all destroyed.

The conditions imposed upon him by Æetes were thus accomplished; but the king, who perceived that Jason had only succeeded through the aid of his daughter, made this a pretext for refusing to surrender the fleece. Jason then removed it by night from the grove of Ares, after Medea had, by means of her enchantments, lulled the watchful dragon to sleep. That same night the Argonauts embarked on board their ship and put to sea, Medea accompanying them as the future wife of Jason. The wrathful Æetes attempted to overtake the fugitives, but Medea succeeded in staying the pursuit by slaying her younger brother Apsyrtus, whom she had brought with her, and scattering his limbs in the sea.

The most diverse accounts exist as to the road taken by the Argonauts on their homeward journey. Some say that they sailed up the Phasis to the Eastern Sea, and then, passing through the Red Sea and Libyan desert, over which they had to carry the Argo twelve days’ journey, came to Lake Tritonis, and thence to the Mediterranean. According to another account, they sought to pass through the Ister (Danube) and Eridanus (Po) to the Western Ocean; but the object of this account was manifestly to subject them to the same vicissitudes and adventures as Odysseus and his companions.

At length Jason landed happily in Iolcus, and delivered the golden fleece into the hands of his uncle. Pelias, however, still refused to surrender the kingdom to Jason, and Medea therefore determined to make away with him by craft. Having persuaded the daughters of Pelias that she possessed a means of making the old man young again, she directed them to slay their father, cut him in pieces, and boil the limbs in a cauldron filled with all manner of herbs; this they did in the vain expectation of seeing him restored to youth. Jason now took possession of his father’s kingdom, but was soon afterwards expelled by Acastus, the son of Pelias, and took refuge in Corinth. His subsequent misfortunes are well known. Thinking to better his condition, he was about to marry Creüsa, the daughter of the king of Corinth, when he was arrested by the fearful vengeance of his first wife. Medea sent the bride a poisoned garment, which caused her to die an agonising death, and then slew her own children by Jason; after which she fled in her chariot drawn by winged dragons to Athens, where she long found protection at the court of Ægeus. Jason either put an end to his own life, or was killed by the fall of a rotten beam of the Argo.

In the history of the golden fleece we have one of the most widely spread myths of all, namely, that of the loss and recovery of a treasure. In Teutonic tradition we have the treasure of the Nibelungs, in which the very name is almost identical; and if we include the stories of women carried off and rescued, the list becomes endless. And the treasure of all those stories has been interpreted to be the golden clouds. The Dragon which guards the treasure again appears in the story of the apples of the Hesperides, and is closely allied to the Sphinx.

=3. The Theban Cycle.=—The highly tragic history of the Theban house of the Labdacidæ, teeming as it does with important characters and events, has at all times furnished subjects for Greek art and poetry, and has given birth to a whole series of epic and dramatic works. The former, which would have conduced far more to an exact acquaintance with the legend, have, unfortunately, perished, with the exception of a few unimportant fragments; although many important works of the great tragic poets, Æschylus, Sophocles, and Euripides, relating to the subject, still remain. The common account runs thus:—Laius, a great-grandson of Cadmus, was warned by the oracle to beget no children, as he was doomed to perish by the hands of his son, who would then marry his mother. When his wife Iocaste gave birth to a son, Laius accordingly exposed the child, with its feet pierced, on Mount Cithæron. The child, called Œdipus from the swelling of its feet, did not die, but was found by some Corinthian shepherds, who brought it to Polybus, king of Corinth. Polybus, having no children of his own, adopted Œdipus, who grew up in the belief that Polybus and Merope were his real parents, until one day a taunt of his companions as to his mysterious origin raised doubts in his mind. In order to solve his misgivings, he went to consult the oracle of Delphi, but he here received only the obscure direction not to return to his country, since, if he did, he would kill his father and marry his mother. Fearing on this account to return to Corinth, he took the road to Thebes, and thus, by his presumptuous prudence, brought about the very consequences he was so anxious to avoid. On the road he was met by Laius, who was on his way to the oracle to ask its advice concerning the Sphinx. A quarrel arose, in a narrow defile, between Laius and Œdipus; and Œdipus slew his father without knowing who he was. On arriving at Thebes he succeeded in delivering the country from the Sphinx. This monster, which had the combined form of a woman and a lion, had been sent by Hera, whom Laius had in some way offended, from Ethiopia to devastate the land of Thebes. Seated on a rock close to the town, she put to every one that passed by a riddle, and whoever was unable to solve it, she cast from the rock into a deep abyss. This calamity induced Creon, on the death of his brother-in-law Laius, to proclaim that whoever solved the riddle should obtain the crown and the hand of Iocaste. Œdipus succeeded in solving it, and thus delivered the country from the monster, who cast herself into the abyss.

The Sphinx belongs to the same family as many of the monsters we have spoken of already; she is called by Hesiod the child of Orthros and Chimæra, whom we have seen to be the daughter of Typhon and Echidna. It would seem, therefore, probable that the contest between her and her opponent may be interpreted in the same way as that of Bellerophon and the Chimæra, or of Zeus and Typhon. In support of this, the following considerations may be adduced. Since we know that thunder was supposed to be a warning or encouragement to men, it is easy to see in it the mysterious voice of the cloud, only intelligible to the wisest of men. Hence the conqueror of the cloud was called the man who understood her language. (It would not a little help this idea, that Œdipus might seem derived from a word meaning “to know.”) Then the death of the Sphinx will be the cloud falling upon the earth in the shape of rain. Œdipus, on the other hand, will be the same antagonist as we have before seen victorious over the cloud dragons; the sun, born helpless, rising to take the kingdom after the slaughter of his enemies, yet at last sinking blinded into an unknown grave. This, however, does not cover the crimes laid to his charge. But they have been explained in this way: that when people lost consciousness of the real meaning of the misfortunes of Œdipus, they cast about for some adequate cause, and found one in the two great crimes of incest and parricide. We have seen something similar to this in the case of Ixion. Further, the names of the wives assigned by various writers to Œdipus are connected with the light, and the name Laius has been interpreted as “enemy” of the light. Sphinx itself signifies “throttler.”

In art, the Sphinx had the form of a lion, generally in a recumbent
position, with the breast and upper part of a beautiful woman. When
the Greeks saw similar figures in Egypt, they naturally gave them
the name of Sphinx. But name, family, and meaning of the Sphinx are
alike Greek, although the Egyptian statues have taken too firm
possession of the name ever to lose it. Ancient Egyptian art
revelled in the creation of colossal Sphinxes, which were carved out
of granite. A notable example of this kind exists in the giant
Sphinx near the Pyramids of Gizeh, which is eighty-nine feet long.
From such monstrous figures as these, Greek art held aloof.

Œdipus was rewarded with the sovereignty of Thebes and the hand of Iocaste; and for several years he enjoyed uninterrupted happiness, surrounded by four blooming children, the fruit of his incestuous marriage. By the secret agency of the goddess, the dreadful truth was at length discovered. Iocaste hanged herself, and Œdipus, in despair, put out his own eyes. Not content with this voluntary penance, the hard-hearted Thebans compelled him besides to leave their city and country, while his sons Eteocles and Polynices, who were now grown up, refused to stir a foot in their father’s behalf. Œdipus, after invoking bitter curses on their heads, withdrew, and, guided by his faithful daughter Antigone, at last found an asylum in the grove of the Eumenides at Colonus, near Athens. His grave there was regarded, in consequence of an ancient response of the oracle, as a national treasure.

The curse of their father took effect on his unnatural sons. The elder, Eteocles, drove out his brother Polynices, who then sought the assistance of Adrastus, king of Argos. Adrastus was a grandson of Bias, of the race of the Amythaonidæ, and by his marriage with the daughter of the wealthy Polybus acquired the sovereignty of Sicyon. He not only hospitably received the fugitive Polynices, but gave him his daughter in marriage, and promised to assist him in recovering the crown of Thebes. In this expedition Adrastus sought to gain the aid of the other Argive heroes. They all declared their readiness to accompany him, with the exception of Amphiaraüs, his brother-in-law, who was equally renowned for his wisdom and courage. Amphiaraüs was a great-grandson of the celebrated seer Melampus, and inherited from him the gift of prophecy. He was thus enabled to perceive the disastrous termination of the war, and strove to hinder it. But Polynices and the fiery Tydeus—likewise a son-in-law of Adrastus—were so unceasing in their entreaties, that he at length sought to escape their importunity by flight. Polynices, however, bribed his wife Eriphyle, by the present of a magnificent necklace, which had formerly been given to Harmonia on the occasion of her marriage with Cadmus, to betray his place of concealment. Hereupon Amphiaraüs was obliged unwillingly to join the expedition, which ended as he had prophesied. The attack on Thebes was not only repulsed, but all the Argive leaders, with the exception of Adrastus, who was saved by the fleetness of his horse, were slain. Polynices and Eteocles fell in single combat with each other. The flight of Adrastus to Attica, where he procured the assistance of Theseus in compelling the Thebans to grant the fallen heroes a solemn burial, is a feature unknown to the original legend, and may be ascribed to the patriotic impulses of the Athenian dramatists. The celebrated tragedy of Sophocles, called _Antigone_, is based on the assumption that Creon, the new king of Thebes, allowed the burial of the other heroes, but left Polynices to lie unburied on the field like a dog, and condemned Antigone to death because she ventured to bury her brother in despite of his command. Creon was destined to meet with a dreadful retribution, for his own son, who was betrothed to Antigone, killed himself in grief at her fate.