APOLLO AND THE MUSES.
It must be owned that Ceres was not undeserving the highest titles bestowed upon her, being considered as the deity who had blessed men with the art of cultivating the earth, having not only taught them to plough and sow, but also to reap, harvest, and thresh out their grain; to make flour and bread, and fix limits or boundaries to ascertain their possessions. The garlands used in her sacrifices were of myrtle, or rape-weed; but flowers were prohibited, Proserpine being carried off as she gathered them. The poppy alone was sacred to her, not only because it grows amongst corn, but because, in her distress, Jupiter gave it her to eat, that she might sleep and forget her troubles. Cicero mentions an ancient temple dedicated to her at Catania, in Sicily in which the offices were performed by matrons and virgins only, no man being admitted.
If to explain the fable of Ceres, we have recourse to Egypt; it will be found, that the goddess of Sicily and Eleusis, or of Rome and Greece, is no other than the Egyptian Isis, brought by the Phœnicians into those countries. The very name of mystery, from mistor, a veil or covering, given to the Eleusinian rites, performed in honor of Ceres, shows them to have been of Egyptian origin. The Isis, or the emblematical figure exhibited at the feast appointed for the commemoration of the state of mankind after the flood, bore the name of Ceres, from Cerets, dissolution or overthrow. She was represented in mourning, and with torches, to denote the grief she felt for the loss of her favorite daughter Persephŏne (which word, translated, signifies corn lost) and the pains she was at to recover her. The poppies with which this Isis was crowned, signified the joy men received at their first abundant crop, the word which signifies a double crop, being also a name for the poppy. Persephŏne or Proserpine found again, was a lively symbol of the recovery of corn, and its cultivation, almost lost in the deluge. Thus, emblems of the most important events which ever happened in the world, simple in themselves, became when transplanted to Greece and Rome, sources of fable and idolatry.
Ceres was usually represented of a tall majestic stature, fair complexion, languishing eyes, and yellow or flaxen hair; her head crowned with a garland of poppies, or ears of corn; holding in her right hand a bunch of the same materials with her garland, and in her left a lighted torch. When in a car or chariot, she is drawn by lions, or winged dragons.
MUSÆ, the Muses. This celebrated sisterhood is said to have been the daughters of Jupiter and Mnēmŏsyne. They were believed to have been born on Mount Piĕrus, and educated by Euphēme. In general they were considered as the tutelar goddesses of sacred festivals and banquets, and the patronesses of polite and useful arts. They supported virtue in distress, and preserved worthy actions from oblivion. Homer calls them superintendants and correctors of manners. In respect to the sciences, these sisters had each their separate province; though poetry seemed more immediately under their united protection.
These divinities, formerly called Mosæ, were so named from a Greek word signifying to inquire; because, by inquiring of them, the sciences might be learnt. Others say they had their name from their resemblance, because there is a similitude, an infinity, and relation, betwixt all the sciences, in which they agree together, and are united with each other; for which reason they are often painted with their hands joined, dancing in a circle round Apollo their leader.
They were represented crowned with flowers, or wreaths of palm, each holding some instrument, or emblem of the science or art over which she presided. They were depicted as in the bloom of youth; and the bird sacred to them was the swan, probably because that bird was consecrated to their sovereign Apollo. There was a fountain of the Muses near Rome, in the meadow where Numa used to meet the goddess Egeria; the care of which and of the worship paid to the Muses, was intrusted to the Vestal virgins.
Their names were as follows: Clio, who presided over history. Her name is derived from κλειος, glory, or from κλειω, to celebrate. She is generally represented under the form of a young woman crowned with laurel, holding in her right hand a trumpet, and in her left a book: others describe her with a lute in one hand, and in the other a plectrum, or quill.
Euterpe is distinguished by tibiæ or pipes whence she was called also Tibīcĭna. Some say logic was invented by her. It was very common with the musicians of old to play on two pipes at once, agreeably to the remarks before Terence's plays, and as we often actually find them represented in the remains of the artists. It was over this species of music that Euterpe presided, as we learn from the first ode of Horace.
Thălīa presided over comedy, and whatever was gay, amiable, and pleasant. She holds a mask in her right hand, and on medals she is represented leaning against a pillar. She was the Muse of comedy, of which they had a great mixture on the Roman stage in the earliest ages of their poetry, and long after. She is distinguished from the other Muses in general by a mask, and from Melpomĕne, the tragic Muse, by her shepherd's crook, not to speak of her look, which is meaner than that of Melpomĕne, or her dress, which is shorter, and consequently less noble, than that of any other of the Muses.
Melpomĕne was so styled from the dignity and excellence of her song. She presided over epic and lyric poetry. To her the invention of all mournful verses, and, particularly, of tragedy, was ascribed; for which reason Horace invokes her when he laments the death of Quintilius Varus. She is usually represented of a sedate countenance, and richly habited, with sceptres and crowns in one hand, and in the other a dagger. She has her mask on her head, which is sometimes placed so far backward that it has been mistaken for a second face. Her mask shows that she presided over the stage; and she is distinguished from Thălīa, or the comic Muse, by having more of dignity in her look, stature, and dress. Melpomĕne was supposed to preside over all melancholy subjects, as well as tragedy; as one would imagine at least from Horace's invoking her in one of his odes, and his desiring her to crown him with laurel in another.
Terpsĭchŏre; that is, the sprightly. Some attribute her name to the pleasure she took in dancing; others represent her as the protectress of music, particularly the flute; and add, that the chorus of the ancient drama was her province, to which also logic has been annexed. She is further said to be distinguished by the flutes which she holds, as well on medals as on other monuments.
Erăto, presided over elegiac or amorous poetry, and dancing, whence she was sometimes called Saltatrix. She is represented as young, and crowned with myrtle and roses, having a lyre in her right hand, and a bow in her left, with a little winged Cupid placed by her, armed with his bow and arrows.
Polyhymnia. Her name, which is of Greek origin, and signifies much singing, seems to have been given her for the number of her songs, rather than her faithfulness of memory. To Polyhymnia belonged that harmony of voice and gesture which gives a perfection to oratory and poetry. She presided over rhetoric, and is represented with a crown of pearls and a white robe, in the act of extending her right hand, as if haranguing, and holding in her left a scroll, on which the word Suadere is written; sometimes, instead of the scroll, she appears holding a caduceus or sceptre.
Urania, or Cœlestis. She is the Muse who extended her care to all divine or celestial subjects, such as the hymns in praise of the gods, the motions of the heavenly bodies, and whatever regarded philosophy or astronomy. She is represented in an azure robe, crowned with stars and supporting a large globe with both hands: on medals this globe stands upon a tripod.
Calliŏpe, who presides over eloquence and heroic poetry; so called from the ecstatic harmony of her voice. The poets, who are supposed to receive their inspirations from the Muses, chiefly invoked Calliŏpe, as she presided over the hymns made in honor of the gods. She is spoken of by Ovid, as the chief of all the Muses. Under the same idea, Horace calls her Regina, and attributes to her the skill of playing on what instrument she pleases.
ASTRÆA, or ASTREA, goddess of justice, was daughter of Astræus, one of the Titans; or according to Ovid, of Jupiter and Themis. She descended from heaven in the golden age, and inspired mankind with principles of justice and equity, but the world growing corrupt, she re-ascended thither, where she became the constellation in the Zodiac called Virgo.
This goddess is represented with a serene countenance, her eyes bound or blinded, having a sword in one hand, and in the other a pair of balances, equally poised, or rods with a bundle of axes, and sitting on a square stone. Among the Egyptians, she is described with her left hand stretched forth and open, but without a head. According to the poets, she was conversant on earth during the golden and silver ages, but in those of brass and iron, was forced by the wickedness of mankind to abandon the earth and retire to heaven. Virgil hints that she first quitted courts and cities, and betook herself to rural retreats before she entirely withdrew.
NEMESIS, daughter of Jupiter and Necessity, or, according to some, of Oceănus and Nox, had the care of revenging the crimes which human justice left unpunished. The word Nemĕsis is of Greek origin, nor was there any Latin word that expressed it, therefore the Latin poets usually styled this goddess Rhamnusia, from a famous statue of Nemĕsis at Rhamnus in Attica. She is likewise called Adrastea, because Adrastus, king of Argos, first raised an altar to her. Nemĕsis is plainly divine vengeance, or the eternal justice of God, which severely punishes the wicked actions of men. She is sometimes represented with wings, to denote the celerity with which she follows men to observe their actions.