LEMNIAN ATHENA

THE CLASSIC MYTHS
IN ENGLISH LITERATURE AND IN ART
BASED ORIGINALLY ON BULFINCH'S "AGE OF FABLE" (1855)
ACCOMPANIED BY AN INTERPRETATIVE AND ILLUSTRATIVE COMMENTARY

CHARLES MILLS GAYLEY, Litt.D., LL.D.

PROFESSOR OF THE ENGLISH LANGUAGE AND LITERATURE IN THE UNIVERSITY OF CALIFORNIA

NEW EDITION
REVISED AND ENLARGED

GINN AND COMPANY

BOSTON · NEW YORK · CHICAGO · LONDON
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The Athenæum Press
GINN AND COMPANY · PROPRIETORS · BOSTON · U.S.A.

[TO THE MUSES]

Whether on Ida's shady brow,
Or in the chambers of the East,
The chambers of the sun, that now
From ancient melody have ceas'd;

Whether in Heav'n ye wander fair,
Or the green corners of the earth,
Or the blue regions of the air,
Where the melodious winds have birth;

Whether on crystal rocks ye rove,
Beneath the bosom of the sea,
Wandering in many a coral grove,
Fair Nine, forsaking Poetry;

How have you left the ancient love
That bards of old enjoyed in you!
The languid strings do scarcely move,
The sound is forc'd, the notes are few!

William Blake

O antique fables! beautiful and bright
And joyous with the joyous youth of yore;
O antique fables! for a little light
Of that which shineth in you evermore,
To cleanse the dimness from our weary eyes,
And bathe our old world with a new surprise
Of golden dawn entrancing sea and shore.

James Thomson

[PREFACE]

In this new edition of "The Classic Myths in English Literature" the former order of materials has been altered in accordance with the advice of the teachers who have had longest experience with the use of the book; the old material has been thoroughly revised; and much new material has been added. Since most people prefer to begin a story at its beginning, and not with the career of its author and his genealogy, I have reserved the history of the myths for the conclusion of the text. Some of the myths have been restated in more careful form. Some short narratives, before omitted, have been included. The sketches of the Iliad and the Odyssey have been considerably expanded; and an outline—which, I hope, will be deemed adequate—of Wagner's version of the Ring of the Nibelung has been appended to the account of Norse and German mythology. That version is, of course, not English literature; but it has come to be received as the classic modern version of the story; and the story is needed, at some time or other, by every lover of music. Fresh examples of the employment of myth in English verse have, where practicable, been incorporated in the text; and some new references will be found in the Commentary.

I have thoroughly revised the list of illustrative cuts, have interpreted the more difficult of the ancient figures, and indicated the sources. The pictures themselves are a decided improvement upon those in the former edition. In the determination of sources for reproduction, I have had the valuable assistance of Dr. E. von Mach, the author of more than one well-known work on ancient art; and to him I am indebted, in addition, for the section on The Classic Myths in Art, which is included in my Introduction. With this new equipment the book should prove more useful to those who here make their first acquaintance with art, especially the art of the ancients, as well as to those who have been in the habit of using it as a guide to paintings and sculptures of mythological subjects in foreign galleries.

Much of our best English poetry lies beyond the imaginative reach of many readers because of their unfamiliarity with the commonplaces of literary allusion, reference, and tradition. Of such commonplaces few are more frequently recurrent than those furnished by the literature of myth.

In view of this consideration, the Academic Council of the University of California, some twenty years ago, introduced into its requirements for entrance in English the subject of Classical Mythology in its relation to English Literature, and recommended, as a textbook for preparation, Bulfinch's "Age of Fable." The experience of English and classical teachers in the schools of the state attested the wisdom of the requirement; but the demand for some textbook adapted to the needs of the classroom made necessary the preparation of this volume. For while "The Age of Fable" offered a tempting collection of Greek, Norse, and Oriental narratives, it was designed neither as a schoolbook nor as a systematized presentation and interpretation of the myths that have most influenced English literature.

At the request of my publishers I undertook at that time such a revision and rearrangement of the materials of "The Age of Fable" as might adapt it to the purposes of teacher and pupil, and to the taste of readers somewhat more advanced in years than those addressed by the original work or by the edition which bore the name of the Reverend Edward Everett Hale. But after a year's work I found that half my material for copy was new, and that the remainder differed in many important respects from the book upon which it was based. Consequently, while the obligation to "The Age of Fable" was acknowledged in full, a different title was selected for the resulting volume. For neither my publishers nor I desired that the scholarship or the taste of Mr. Bulfinch should be held accountable for liberties that were taken with his work.

In "The Classic Myths in English Literature and in Art," Chapters XXIII-XXVII, containing sketches of the Fall of Troy, the Odyssey, the Æneid, and of certain Norse lays, are a revision of corresponding chapters in "The Age of Fable." Chapters VII-XX, and XXII, comprising Myths of the Greater Divinities of Heaven, Earth, the Underworld, and the Waters, Myths of the Lesser Divinities of the same regions, Myths of the Older Heroes and Myths of the Younger Heroes, and the outline of the Trojan War, represent a total rearrangement and recomposition of the original material, section by section, and frequently paragraph by paragraph,—such portions of "The Age of Fable" as have been retained being abridged or rewritten, and, in places too frequent to enumerate, supplemented by new and necessary sentences, paragraphs, and sections. The Introduction, the first six chapters (on the Greek Myths of the Creation, and the attributes of Greek and Roman divinities), Chapters XXI and XXVIII-XXXII (on the Houses concerned in the Trojan War, the Saga of the Volsungs, the Lay of the Nibelungs, Wagner's Ring of the Nibelung, and on the origin, elements, distribution, and preservation of myth), the choice of poetic and artistic illustration, the footnotes referring to sources, and the Commentary are wholly, or essentially, my own. In fact, there is little but the scaffolding of "The Age of Fable" now remaining in the book.

Although in the Index of Mythological Subjects and their Sources the more common myths of some other nations are briefly stated, no myths save those known to the Greeks, Romans, Norsemen, or Germans have been included in the body of the text. The scope of selection has been thus confined for three reasons: first, the regard for necessary limits; second, the desirability of emphasizing only such myths as have actually acclimated themselves in English-speaking lands and have influenced the spirit, form, and habit of English imaginative thought; third, the necessity of excluding all but the unquestionably classic. The term classic, however, is, of course, not restricted to the products of Greece and Rome; nor is it employed as synonymous with Classical or as antithetical to Romantic. From the extreme Classical to the extreme Romantic is a far cry; but as human life knows no divorce of necessity from freedom, so genuine art knows neither an unrelieved Classical nor an unrestrained Romantic. Classical and Romantic are relative terms. The Classical and the Romantic of one generation may merit equally to be the classics of the next. Therefore certain Hellenic myths of romantic spirit or construction have been included in this work, and certain Norse and German myths have not been excluded. Whatever is admitted, is admitted as first-class: first-class, because simple, spontaneous, and beautiful; because fulfilling the requirements of perennial freshness, of æsthetic potency, and of ideal worth.

In the matter of illustrative English and American poems the principle of selection has been that the verses shall translate a myth from the classic original, or exemplify the poetic idealization and embellishment of the subject, or suggest the spirit and mien of ancient art. But in each case regard has been had to the æsthetic value of the poem or the citation. In the search for suitable examples I have derived valuable assistance from Mr. E.C. Guild's "Bibliography of Greek Mythology in English Poetry of the Nineteenth Century" (Bowdoin College, Library Bulletin No. 1). The student is also referred to A.E. Sawtelle's "Sources of Spenser's Mythology," C.G. Osgood's' "Classical Mythology of Milton," and R.K. Root's "Classical Mythology in Shakespeare" (Holt, 1896, 1900, and 1903, respectively).

In the Commentary four things have been attempted: first, an explanation, under each section, of ordinary textual difficulties; second, an unpretentious exposition of the myth or a brief statement of the more evident interpretations advanced by philologists or ethnologists; third, an indication of certain additional poems or verses that illustrate the myth; fourth, special mention of such masterpieces of ancient and modern sculpture and painting as may serve to introduce the student or the general reader to a field of æsthetic profit neglected by the great mass of our people. For the poetic conception of most of the myths contained in Chapters I-XXIV, we are indebted to the Greek imagination; but since this book is intended for students of English poetry, and since in English poetry Latin names of mythological characters are much more frequently employed than Greek, the Latin designations or Latinized forms of Greek names have been, so far as possible, retained; and such variations as Jupiter, Jove—Proserpina, Proserpine, freely used. In the chapters, however, on the attributes of the Greek gods, names exclusively Greek have been placed in parentheses after the usual Roman equivalents, Latin appellations, or designations common to both Greek and Roman usage. In the transliteration of Greek names I have followed, also, the prevalent practice of our poets, which is, generally speaking, the practice of the Romans. The diphthong ει, for instance, is transliterated according to the accepted English pronunciation, which in individual words perpetuates the preference of the Latins for the e sound or the i sound respectively. So Ἀτρείδης becomes Atrīdes; Ἰφιμέδεια, Iphimedīa. But, on the other hand, Κυθέρεια becomes Cytherēa; Πηνειός, Penēus; and Μήδεια, Medēa; while owing to purely popular English custom, such a name as Φειδίας has become, not Pheidias nor even Phīdias, but—Phĭdias. A few names of islands, towns, persons, etc., that even in Latin retain their Greek forms,—such as Delos, Naxos, Argos, Aglauros, Pandrosos,—have been transferred without modification. So also has Poseidon, because that is the common English spelling. In short, the practice aimed at has been not that of scientific uniformity, but of acknowledged poetic usage. In the titles of the illustrative cuts, Greek names have been used for works of Greek origin, Latin for the Roman.

For the benefit of readers who do not know the fundamental rules for the pronunciation of Greek and Latin proper names in English, a brief statement of rules is prefixed to the Index; and in the Index of Mythological Subjects and their Sources names are not only accented, but, when necessary, diacritically marked.

In the preparation of the Text and Commentary more or less use has been made of: Roscher's Ausführliches Lexikon der griechischen und römischen Mythologie (Lieferungen 1-21, Teubner, Leipzig); Preller's Griechische Mythologie (2 Bde., Berlin, 1861); Max Müller's Chips from a German Workshop, Science of Religion (London, 1873), Science of Language (7th ed., 2 vols., London, 1873), Oxford Essays (1856); Sir G. W. Cox's Mythology of the Aryan Nations (2 vols., London, 1878); Frazer's Golden Bough; W. Warde Fowler's Roman Festivals (London, 1899); Welcker's Griechische Götterlehre; Baumeister's Denkmäler des klassischen Alterthums; Murray's Manual of Mythology (New York, 1880); Smith's Dictionary of Greek and Roman Biography and Mythology; Duruy's Histories of Rome and Greece; Keightley's Greek and Roman Mythology; Kelsey's Outline of Greek and Roman Mythology (Boston, 1889); Horn's Geschichte der Literatur des skandinavischen Nordens (Leipzig, 1880); Cleasby and Vigfusson's Icelandic Dictionary; Lüning's Die Edda (Zürich, 1859); Vigfusson and Powell's Corpus Poeticum Boreale (2 vols., Oxford, 1883); Paul's Grundriss der germanischen Philologie, 1 Bd., 5 Lfg. (article Mythologie, by E. Mogk); Grimm's Teutonic Mythology (translated by Stallybrass, 3 vols.); Werner Hahn's Das Nibelungenlied; Lang's Myth, Ritual, and Religion (2 vols., London, 1887), and Mythology (Encyc. Brit., Vol. 9); Tylor's Anthropology (New York, 1881) and Primitive Culture (2 vols.); J. W. Powell's Annual Reports of the Bureau of Ethnology (7 vols., beginning 1879-1880, Washington, D.C.); Keary's Outlines of Primitive Belief; Fiske's Myths and Myth-makers (Boston); Whitney's Oriental and Linguistic Studies; W. P. Johnston's The Origin of Myth; and of other works to which due reference is made in the footnotes and Commentary. The student is also referred to F. B. Jevons' edition of Plutarch's Romane Questions, translated by Philemon Holland (London, 1892) (introduction on Roman Mythology); and to C.G. Leland's Etruscan-Roman Remains in Popular Tradition (London, 1892). The Maps, furnished by Messrs. Ginn and Company from other of their publications, have, with the kind consent of the authors of those works, in some instances been adapted by me to suit the present purpose.

The principal authorities used in the selection of the illustrations of this new edition are: Baumeister, Denkmäler des klassischen Alterthums (3 vols., Munich, 1888); Furtwängler, Masterpieces of Greek Sculpture (London, 1905); Ernest Gardner, Ancient Athens (New York and London, 1902); Percy Gardner, A Grammar of Greek Art (New York and London, 1905); and Sculptured Tombs of Hellas (London, 1896); Percy Gardner and Jevons, A Manual of Greek Antiquities (London, 1895); Gerhard, Auserlesene griechische Vasenbilder (1840-1858); Gusman, Pompeii (London, 1900); Harrison and Maccoll, Greek Vase Paintings (London, 1894); E. von Mach, Handbook of Greek and Roman Sculpture (Boston, 1905); and Greek Sculpture, Its Spirit and Principles (Boston, 1903); A. S. Murray, Handbook of Greek Archæology (London, 1892); History of Greek Sculpture (2 vols., London, 1883); and Sculptures of the Parthenon (London, 1903); A. S. Murray and C. A. Hutton, Greek Bronzes and Terra Cotta Statuettes (London, 1898); C. O. Müller, Denkmäler der alten Kunst (Göttingen, 1832); Overbeck, Griechische Kunstmythologie (1871 ——); Emil Presuhn, Pompeii, 1874-1881 (Leipzig, 1882); Salomon Reinach, Peintures de vases antiques (including the collections of Millin, 1808, and Millingen, 1813 (Paris, 1891)), and Apollo (Paris, 1907); H. Roux Ainé, Herculaneum and Pompeii; Roscher, Ausführliches Lexikon der griechischen und römischen Mythologie (1884 ——) (Lieferungen 1-17 in Vol. I, 18 on in Vol. II); Anton Springer, Handbuch der Kunstgeschichte (I Alterthum, Leipzig, 1904); Charles Waldstein, The Argive Heræum (2 vols.); and the archæological periodicals as cited in the List of Illustrations.

The acknowledgment of assistance made in the former edition is here renewed.

CHARLES MILLS GAYLEY

[CONTENTS]

	PAGE
INTRODUCTION	xxix
PART I MYTHS OF DIVINITIES AND HEROES
CHAPTER I. GREEK MYTHS OF THE CREATION	[1]
Purpose of the Study. The Fable and the Myth. Origin of the World. Origin of the Gods. The Rule of Cronus. The War of the Titans. The Division of Empire. The Reign of Jupiter. The Origin of Man. Prometheus, a Creator. The Age of Gold. The Silver Age. Prometheus, Champion of Man. Pandora. Prometheus Bound. Longfellow's Prometheus. The Brazen Age. The Iron Age. The Flood. Deucalion and Pyrrha. The Demigods and Heroes.
CHAPTER II. THE GODS OF HEAVEN	[18]
Olympus. The Great Gods. Jupiter (Zeus). Conceptions of Jupiter. Juno (Hera). Minerva (Athene or Athena). Mars (Ares). Vulcan (Hephæstus). Apollo. Shelley's Hymn of Apollo. Diana (Artemis). Jonson's Hymn to Cynthia. Venus (Aphrodite). The "Venus of Milo." Mercury (Hermes). Vesta (Hestia). The Lesser Divinities of Heaven.
CHAPTER III. THE GODS OF EARTH	[42]
Conception of the World. Ceres (Demeter). Gæa (Ge). Bacchus (Dionysus). The Lesser Divinities of Earth.
CHAPTER IV. THE GODS OF THE UNDERWORLD	[47]
The Underworld. Tartarus and the Elysian Fields. The Islands of the Blest. Pluto (Hades). Proserpina (Persephone). The Lesser Divinities of the Underworld.
CHAPTER V. THE GODS OF THE WATERS	[55]
The Older Dynasty. The Younger Dynasty. The Lesser Divinities of the Waters.
CHAPTER VI. THE ROMAN DIVINITIES	[59]
Gods Common to Greece and Italy. Italian Gods.
CHAPTER VII. MYTHS OF THE GREAT DIVINITIES OF HEAVEN	[64]
Myths of Jupiter and Juno. Love Affairs of Jupiter. Io. Callisto. Europa. Semele. Ægina. Antiope. Jupiter, a Friend of Man. Juno's Best Gift. Myths of Minerva. Arachne. Myths of Mars. Mars and Diomede. Mars and Minerva. The Fortunes of Cadmus. Myths of Vulcan. Myths of Apollo. The Wanderings of Latona. Apollo, the Light Triumphant. Hyacinthus. Phaëthon. The Plague sent upon the Greeks before Troy. The Punishment of Niobe. The Lamentation for Linus. Æsculapius. Apollo in Exile. Lowell's Shepherd of King Admetus. Admetus and Alcestis. Apollo, the Musician. Apollo, Pan, and Midas. Shelley's Hymn of Pan. Marsyas. The Loves of Apollo. Daphne. Marpessa. Clytie. Myths of Diana. The Flight of Arethusa. Shelley's Arethusa. The Fate of Actæon. The Fortunes and Death of Orion. The Pleiads. Endymion. Myths of Venus. Adonis. Cupid and Psyche. Keats' Ode to Psyche. Atalanta's Race. Hero and Leander. Pygmalion and the Statue. Pyramus and Thisbe. Phaon. The Vengeance of Venus. Myths of Mercury.
CHAPTER VIII. MYTHS OF THE GREAT DIVINITIES OF EARTH	[152]
Myths of Bacchus. The Wanderings of Bacchus. The Story of Acetes. The Choice of King Midas.
CHAPTER IX. FROM THE EARTH TO THE UNDERWORLD	[159]
Myths of Ceres, Pluto, and Proserpine. The Rape of Proserpine. The Wanderings of Ceres. Triptolemus and the Eleusinian Mysteries. Orpheus and Eurydice.
CHAPTER X. MYTHS OF NEPTUNE, RULER OF THE WATERS	[169]
Lord of the Sea. Lord of Streams and Fountains. Pelops and Hippodamia.
CHAPTER XI. MYTHS OF THE LESSER DIVINITIES OF HEAVEN	[172]
Myths of Stars and Winds. Cephalus and Procris. Dobson's The Death of Procris. Ceyx and Halcyone. Aurora and Tithonus. Tennyson's Tithonus. Memnon.
CHAPTER XII. MYTHS OF THE LESSER DIVINITIES OF EARTH, ETC.	[181]
Pan, and the Personification of Nature. Stedman's Pan in Wall Street. Other Lesser Gods of Earth. Echo and Narcissus. Echo, Pan, Lyde, and the Satyr. The Naiads. The Dryads, or Hamadryads. Erysichthon. Dryope. Rhœcus. Pomona and Vertumnus. The Cranes of Ibycus.
CHAPTER XIII. MYTHS OF LESSER DIVINITIES OF THE WATERS	[198]
Galatea and Polyphemus. Glaucus and Scylla. Nisus and Scylla. Leucothea. Proteus and Aristæus. Acheloüs and Hercules. Milton's Sabrina Fair.
CHAPTER XIV. MYTHS OF THE OLDER HEROES: THE HOUSE OF DANAÜS, AND ITS CONNECTIONS	[206]
The Older and the Younger Heroes. The Genealogy of Danaüs. The Danaïds. The Doom of King Acrisius. Perseus and Medusa. Perseus and Atlas. Perseus and Andromeda. Bellerophon and the Chimæra. Hercules (Heracles): His Youth. His Labors. His Later Exploits. The Loss of Hylas. The Rescue of Daphnis. The Expedition against Laomedon. The Death of Hercules.
CHAPTER XV. THE FAMILY OF ÆOLUS	[229]
Descendants of Deucalion. The Quest of the Golden Fleece. The Return of the Argonauts. Medea and Æson. Pelias.
CHAPTER XVI. THE FAMILY OF ÆTOLUS AND ITS CONNECTIONS	[237]
The Calydonian Hunt. Merope. Castor and Pollux. The Twin Brethren among the Romans.
CHAPTER XVII. THE HOUSE OF MINOS	[246]
Minos of Crete. Dædalus and Icarus.
CHAPTER XVIII. THE HOUSE OF CECROPS AND ERICHTHONIUS	[249]
From Cecrops to Philomela. Matthew Arnold's Philomela. Theseus. Theseus and Ariadne. Bacchus and Ariadne. The Amazons. Theseus and Pirithoüs. Phædra and Hippolytus.
CHAPTER XIX. THE HOUSE OF LABDACUS	[261]
The Misfortunes of Thebes. Œdipus and the Sphinx. Œdipus, the King. Œdipus at Colonus.
CHAPTER XX. MYTHS OF THE YOUNGER HEROES: THE SEVEN AGAINST THEBES	[265]
Their Exploits. The Seven against Thebes. Antigone. The Epigoni.
CHAPTER XXI. HOUSES CONCERNED IN THE TROJAN WAR	[269]
Three Families. Peleus. Achilles, Son of Peleus. Atreus. Tyndareus.
CHAPTER XXII. THE TROJAN WAR	[277]
Its Origin. Iphigenia in Aulis. Protesilaüs and Laodamia. Homer's Iliad. The Wrath of Achilles. The Enlistment of the Gods. Thetis intercedes for Achilles. Agamemnon calls a Council. Paris plays the Champion. Helen surveys the Grecian Host. Menelaüs defeats Paris. The Two Days' Battle. Hector and Andromache. Neptune aids the Discouraged Greeks. Jupiter inspirits the Trojans. Achilles and Patroclus. Patroclus in the Armor of Achilles. The Deaths of Sarpedon and Patroclus. The Remorse of Achilles. The Reconciliation of Agamemnon and Achilles. The Death of Hector. Achilles drags the Body of Hector. Priam in the Tent of Achilles.
CHAPTER XXIII. THE FALL OF TROY	[307]
The Fall of Troy. The Death of Achilles. Contest for the Arms of Achilles. Paris and Œnone. The Palladium. The Wooden Horse. Laocoön and the Serpents. The Death of Priam. The Survivors. Helen, Menelaüs, and Agamemnon. Electra and Orestes. Orestes pursued by the Furies. His Purification.
CHAPTER XXIV. THE WANDERINGS OF ULYSSES	[318]
From Troy to Phæacia. The Lotos-eaters. The Cyclopes. The Bag of Winds. The Læstrygonians. The Isle of Ææa. Ulysses visits Hades. The Sirens. Scylla and Charybdis. The Cattle of the Sun. Calypso's Island. The Land of the Phæacians. Fate of the Suitors. Tennyson's Ulysses.
CHAPTER XXV. ADVENTURES OF ÆNEAS	[346]
From Troy to Italy. The Departure from Troy. The Promised Empire. The Harpies. Epirus. The Cyclopes Again. The Resentment of Juno. The Sojourn at Carthage. Dido. Palinurus. Italy at Last. The Sibyl of Cumæ. The Infernal Regions. The Elysian Fields. The Valley of Oblivion.
CHAPTER XXVI. THE WAR BETWEEN TROJANS AND LATINS	[362]
The Fulfillment of Prophecy. The Gates of Janus Opened. Camilla. Alliance with Evander. The Site of Future Rome. Turnus attacks the Trojan Camp. Nisus and Euryalus. The Death of Mezentius. The Deaths of Pallas and Camilla. The Final Conflict.
CHAPTER XXVII. MYTHS OF THE NORSE GODS	[373]
The Creation. Yggdrasil. Odin and his Valhalla. The Valkyries. Thor and the Other Gods. Loki and his Progeny. The Conflict with the Mountain Giants. The Recovery of Thor's Hammer. Thor's Visit to Jötunheim. The Sword of Freyr. The Death of Balder. The Funeral of Balder. The Elves. Ragnarok.
CHAPTER XXVIII. MYTHS OF NORSE AND OLD GERMAN HEROES	[398]
The Saga of the Volsungs. The Lay of the Nibelungs.
CHAPTER XXIX. THE RING OF THE NIBELUNG	[410]
Wagner's Tetralogy. The Rhine-gold. The Valkyrie. Siegfried. The Twilight of the Gods.
PART II THE HISTORY OF MYTH
CHAPTER XXX. THE ORIGIN AND ELEMENTS OF MYTH	[431]
Kinds of Myth. Divisions of Inquiry. Elements of the Myth. Reasonable Myths. Unreasonable Myths. Theory of Deterioration. Theory of Progress.
CHAPTER XXXI. THE DISTRIBUTION OF MYTHS	[447]
Theories of Resemblance.
CHAPTER XXXII. THE PRESERVATION OF MYTHS	[450]
Traditional History. In Greece. Roman Poets of Mythology. Records of Norse Mythology. Records of German Mythology. Records of Oriental Mythology: Egyptian. Indian Records. Persian Records.
COMMENTARY	[465]
RULES FOR PRONUNCIATION	[541]
INDEX OF MYTHOLOGICAL SUBJECTS AND SOURCES	[543]
INDEX OF MODERN AUTHORS AND ARTISTS	[582]

[LIST OF ILLUSTRATIONS]

FIGURE		PAGE
1.	Herculaneum and Pompeii, by H. Roux Ainé Jupiter surveying the World. Roman Wall Painting, Naples:	[3]
2.	Journal of Hellenic Studies, 4, 90 Athena and Giant. Greek Bronze, Mus. Kircherianum:	[7]
3.	Zeus and Giants. Ancient Gem: Baumeister 3, 1791	[8]
4.	Baumeister 3, 1568 Prometheus making Man. Roman Sarcophagus in the Capitoline:	[9]
	Upper row, from left to right: Oceanus, the Sun-god, Clotho, Lachesis, etc. Lower row: Cupid and Psyche, Gæa (Tellus), Prometheus, the newly created Man to whom Minerva gives life (the butterfly). Death, Cupid with down-turned torch, the first man dead, Atropos, Mercury.
5.	Poseidon (Neptune), Dionysus (Bacchus) and Goddess. East Frieze, Parthenon, in the British Museum: Photograph	[17]
6.	Two Hours. Greek Vase Painting, St. Petersburg: Roscher 1, 2727	[18]
7.	Zeus from Dodona. Greek Bronze: Photograph	[20]
8.	Zeus after Phidias. Coin of Elis: A. S. Murray, Greek Bronzes, opp. p. 81	[21]
9.	Hera of Argos. Greek Marble: Argive Heræum, 1	[22]
10.	Athena Velletri. Ancient Marble in the Louvre: Photograph	[23]
11.	Ares Ludovisi. Ancient Marble in Rome: Photograph	[24]
12.	Ares (Mars). Painting by Raphael: Photograph	[25]
13.	The Forge of Vulcan. Roman Relief: Baumeister 3, 1640	[25]
14.	Apollo (so-called Adonis). Ancient Marble in the Vatican: Photograph	[26]
15.	Apollo Belvedere. Ancient Marble in the Vatican: Photograph	[27]
16.	Apollo. Greek Bronze from Thessaly, British Museum: Murray, Greek Bronzes, Fig. 28	[28]
17.	Diana. Painting by Correggio: Photograph	[29]
18.	Diana (Artemis) of Versailles. Ancient Marble in the Louvre: Photograph	[30]
19.	Artemis Knagia. Ancient Silver Medallion from Herculaneum: Roscher 1, 566	[31]
20.	Hermes Psychopompos. Greek Stele of Myrrhina: P. Gardner, Sculptured Tombs, Fig. 72	[34]
	Hermes (Mercury) leading to the underworld the spirit of a lady, Myrrhina, who has just died. From a relief on her tomb.
21.	Eros (Cupid). Ancient Marble, Naples: Photograph	[36]
22.	Rape of Ganymede. Ancient Marble in the Vatican: Baumeister 2, 891	[37]
23.	Polyhymnia. Ancient Marble, Berlin: Baumeister 2, 1185	[37]
24.	The Three Fates. Painting attributed to Michelangelo, but recently conjectured to be by Rosso Fiorentino. Florence: Photograph	[38]
25.	Boreas. Greek Reliefs, Athens: Baumeister 3, 2370	[39]
26.	Zephyros. Greek Reliefs, Athens: Baumeister 3, 2370	[39]
27.	Boreas carrying off Orithyia. Greek Vase Painting, Munich: Baumeister 1, 373	[40]
28.	Iris carrying Child. Vase Painting: Gerhard, Auserlesene Vasenbilder, 2, 83	[41]
29.	Demeter of Knidos. Greek Marble in the British Museum: E. von Mach, Handbook of Greek and Roman Sculpture, Plate 247	[42]
30.	Ceres. Roman Wall Painting: I. Weir, Greek Painting, p. 343	[43]
31.	Dionysus and the Vine. Ancient Marble in the British Museum: Roscher 1, 292	[44]
32.	Pan the Hunter. Ancient Terra Cotta: Murray and Hutton, Plate VI	[45]
33.	A Satyr with Grafting Materials. Ancient Gem: Pine's Virgil	[46]
34.	The Greek Underworld. Ancient Vase Painting from Canusium: Baumeister 3, 2042 B	[48]
	Center: Hades and Persephone. Above, left: Megara, wife of Heracles, and two of her children, slain by Heracles when mad. Above, right: a Fury guarding Pirithoüs and Theseus. Middle, left: Orpheus playing and dancing, and an unknown family group. Middle, right: the three judges of the dead. Below: Sisyphus, a Fury, Hermes, Heracles with Cerberus, a Fury, Tantalus.
35.	Hermes conducting a Soul to Charon. Ancient Terra Cotta: Archäologische Zeitung, Berlin	[49]
36.	Hypnos (Somnus, Sleep). Murray, Greek Bronzes, opp. p. 72	[50]
37.	A Fury. Ancient Vase Painting: Roscher 1, 1334	[51]
38.	Hades. Ancient Marble in the Villa Borghese, Rome: Baumeister 1, 690	[53]
39.	Death, Sleep, and Hermes laying a Body in the Tomb. Ancient Vase Painting: P. Gardner, Sculptured Tombs, Fig. 5	[54]
40.	Poseidon from Dodona. Greek Bronze in the British Museum: Murray, Greek Bronzes, Fig. 32	[55]
41.	Wedding of Poseidon and Amphitrite. Ancient Marble Frieze, Munich: Baumeister 3, 1744 B	[56]
42.	Triton carrying off a Nymph. Ancient Marble in the Vatican: Baumeister 3, 1964	[57]
43.	Bearded Janus. Roman Coin: Baumeister 2, 1166 A	[60]
44.	Genius Loci. Wall Painting from Herculaneum in the Naples Museum: Gusman, Pompeii, p. 107	[62]
45.	Ganymede feeding the Eagle. Ancient Relief: Pietro Santi Bartoli, Gli. Antichi Sepolcri	[64]
46.	Hermes (Mercury) kills Argus in presence of Zeus. Ancient Vase Painting: Roscher 2, 279	[65]
47.	Io, Argus, and Mercury. Wall Painting from Herculaneum in the Naples Museum: Baumeister 1, 802	[66]
48.	Europa on the Bull. Greek Vase Painting: Harrison-Maccoll, Plate IV	[69]
49.	Nereïds on Sea Beasts. Ancient Marble Frieze in Munich: Baumeister 3, 1744 A	[70]
50.	Youthful Bacchus embracing Semele in presence of Apollo and a Satyr. Etruscan Mirror, Berlin: Baumeister 1, 557	[71]
51.	Amphion and Zethus. Ancient Relief in the Palazzo Spada, Rome: Roscher 2, 311	[76]
52.	Contest of Athena and Poseidon for the Supremacy of Athens. Ancient Vase Painting, St. Petersburg: Baumeister 3, 1542	[83]
53.	Athena. Ancient Marble in Hope Collection: Furtwängler, Masterpieces, Fig. 27	[85]
54.	Cadmus slaying the Dragon. Ancient Vase Painting, Naples: Baumeister 2, 822	[87]
	Athena counseling. Above: river-god Ismenos, fountain-nymph Krene, and personification of Thebes.
55.	Harmonia in Company of Deities. Greek Vase Painting: Ephemeris, 1897-1898, Plate X	[89]
	Aphrodite, Eros, Harmonia standing, Peitho (Persuasion) sitting, and Koré, Hebe, Himeros (Desire).
56.	The Forge of Vulcan. Painting by Velasquez: Photograph	[90]
57.	A Sacrifice to Apollo. Greek Vase Painting: Gardner-Jevons Manual, p. 249, Fig. 16	[91]
58.	Apollo with Hyacinthus. Ancient Marble in Hope Collection: Roscher 16-17, 2765	[93]
59.	The Fall of Phaëthon. Roman Relief in the Louvre: Baumeister 3, 1449	[97]
	Upper left-hand corner: Phaëthon making his request of Helios (Phœbus). Below: the Heliades turning into trees. Center: the maddened horses, one chariot wheel, and Phaëthon falling into the arms of Eridanus. The horsemen left and right of the four horses are Castor and Pollux. Earth-gods, sea-gods, and other figures.
60.	A Son of Niobe. Ancient Marble in Florence: Baumeister 3, 1751	[100]
61.	The Children of Niobe. Ancient Relief, St. Petersburg: Baumeister 3, 1759	[101]
62.	Niobe and her Youngest Daughter. Ancient Marble, Florence: Baumeister 3, 1746	[102]
63.	Æsculapius (Asklepios). Ancient Marble, Florence: Furtwängler, Masterpieces, Fig. 87	[104]
64.	Admetus must Die. Wall painting from Herculaneum in Naples: Baumeister 1, 53	[106]
65.	Heracles. Ancient Marble in Lansdowne House: Photograph	[108]
66.	The Palatine Apollo. Ancient Marble in Vatican: Baumeister 1, 104	[110]
67.	Daphne. Ancient Marble: Springer, Kunstgeschichte, 1, 336	[113]
68.	Artemis (Diana). Ancient Marble, Dresden: Furtwängler, Masterpieces, p. 325	[117]
69.	Arethusa. Ancient Coin: Baumeister 2, 1140	[118]
70.	A Young River-god. Ancient Bronze Head: Roscher 9, 1489	[119]
71.	Actæon. Ancient Marble Relief: Baumeister 1, 41	[121]
72.	The Pleiades. Painting by Elihu Vedder: Photograph	[123]
73.	Endymion. Ancient Relief in the Capitoline, Rome: E. von Mach, Handbook of Greek and Roman Sculpture, Plate 306	[124]
74.	The Death of Adonis. Ancient Marble in the Louvre: Baumeister 1, 17	[127]
	Right: Adonis leaves Venus. Center: he is wounded. Left: he is cared for by Venus, Cupid, and attendants.
75.	Psyche at the Couch of Cupid. Painting by Thumann: Photograph	[130]
76.	Psyche and Cupid on Mount Olympus. Painting by Thumann: Photograph	[136]
77.	Artemis of Gabii. Ancient Marble in the Louvre: E. von Mach, Handbook of Greek and Roman Sculpture, Plate 207	[139]
78.	Atalanta's Race. Painting by Poynter: Photograph	[140]
79.	Hero and Leander. Painting by Keller: Photograph	[144]
80.	Thisbe. Painting by Edward Burne-Jones: Photograph	[148]
81.	Hermes and Dog disguised as Pig. Ancient Vase Painting, Vienna: Harrison-Maccoll, Plate XXXIIIa	[151]
82.	Silenus taking Dionysus (Bacchus) to School. Ancient Terra Cotta: Murray and Hutton, Fig. 36	[152]
83.	Bearded Dionysus on Mule, attended by Satyr. Old Greek Terra Cotta Relief: Baumeister 1, 481	[153]
84.	Satyr and Mænad with Child Dionysus. Ancient Relief: Baumeister 2, 932	[154]
85.	Dionysus at Sea. Greek Vase Painting in the Pinakothek, Munich: Harrison-Maccoll, Plate I	[155]
86.	Bacchic Procession. Greek Vase Painting: Arch. Zeit.	[156]
87.	Dionysus visiting a Poet. Ancient Relief, Naples: Baumeister 3, 1849	[157]
88.	Rape of Proserpina. Ancient Relief: Baumeister 1, 461	[159]
89.	Hades and Persephone. Ancient Terra Cotta: P. Gardner, Sculptured Tombs, Fig. 29	[161]
90.	Sacrifice to Demeter and Persephone. Greek Relief in Paris: Baumeister 1, 457	[162]
91.	Triptolemus and the Eleusinian Deities. Greek Vase Painting: Baumeister 3, 1958	[164]
	Demeter behind the chariot and Persephone and the nymph Eleusis in front.
92.	Demeter (Ceres), Triptolemus, and Proserpina. Greek Relief: E. von Mach, Handbook of Greek and Roman Sculpture, Plate 178	[165]
93.	Orpheus and Eurydice. Painting by Lord Leighton: Photograph	[166]
94.	Farewell of Orpheus and Eurydice (Mercury ready to lead her away). Ancient Marble Relief in Villa Albani, Rome: Photograph	[167]
95.	Isthmian Poseidon. Ancient Marble in Lateran: Springer, Kunstgeschichte, 1, Fig. 495	[169]
96.	Pelops winning the Race; Hippodamia looking on. Ancient Vase Painting: Baumeister 2, 1395	[171]
97.	Phosphor, Eos, and Helios (the Sun) rising from the Sea. Ancient Vase Painting: Gerhard, Akademische Abhandlungen	[172]
98.	Sun, rising, preceded by Dawn. Painting by Guido Reni: Photograph	[173]
99.	Sunrise; Eos (Dawn) pursuing Cephalus. Greek Vase Painting: P. Gardner, Grammar of Greek Art, Fig. 71	[174]
	The young stars descending; to the left, the moon (Selene) riding over the hills.
100.	The God of Sleep. Ancient Relief: Baumeister 1, 770	[176]
101.	The Death of Memnon (Aurora lifting his body). Greek Vase Painting in the Louvre: Harrison-Maccoll, Plate XVIII	[180]
102.	Pan blowing his Pipe, Echo answering. Ancient Earthenware Lamp: Baumeister 1, 514	[182]
103.	The Music Lesson (Pan teaching a Boy). Ancient Marble, Florence: Baumeister 2, 1340	[184]
104.	Bacchic Dance (Nymph and Satyrs). Ancient Relief: Baumeister 3, 1931	[184]
105.	Silenus. From an ancient candelabrum in Munich: Baumeister 2, 895	[185]
106.	Satyr (Marble Faun). Ancient Marble in the Capitoline, Rome: Photograph	[186]
107.	Satyr swinging Maiden. Greek Vase Painting in Berlin: Harrison-Maccoll, Plate XXXII	[186]
108.	Satyr drinking from Amphora. Ancient Vase Painting in Baltimore: Harrison-Maccoll, Plate IX	[187]
109.	Narcissus gazing at his Reflection. Wall Painting from Pompeii, Naples: Baumeister 2, 1213	[188]
110.	A Rustic. Wall Painting from Herculaneum	[195]
111.	A Rustic. Wall Painting from Herculaneum	[196]
112.	Galatea and Polyphemus. Wall Painting in House of Germanicus, Rome: Roscher 9, 1587	[199]
113.	A Sea-god, perhaps Glaucus. Ancient Marble in Vatican: Baumeister 2, 987	[200]
114.	Nereïds and Sea Monsters. Ancient Relief: Baumeister 2, 1216	[204]
115.	The Danaïds. Ancient Marble Relief in Vatican: Roscher 6, 951	[207]
116.	Danaë and Perseus and the Chest. Greek Vase Painting in St. Petersburg: Harrison-Maccoll, Plate XXXIV	[208]
117.	Medusa Rondanini (Front View). Ancient Marble in Munich: Furtwängler, Masterpieces, Fig. 63	[209]
118.	Medusa Rondanini (Profile). Ancient Marble in Munich: Furtwängler, Masterpieces, Fig. 63	[209]
119.	Perseus. Marble by Cellini in Florence: Photograph	[210]
120.	Perseus with the Head of Medusa. Ancient Vase Painting: Gerhard	[211]
121.	Perseus finds Andromeda. Ancient Vase Painting in Museum, Berlin: Jahrbuch des D. Arch. Instituts XI (1896), Plate II	[212]
	Right: Aphrodite holding wreath over Perseus' head. Left: Cepheus seated, Hermes with his wand, and an Æthiopian inhabitant.
122.	Bellerophon and Pegasus. Ancient Relief: Baumeister 1, 317	[215]
123.	Heracles strangling the Nemean Lion. Greek Vase Painting in British Museum: Baumeister 1, 722	[217]
	Left: Iolaiis and the local nymph Nemea. Right: Athena and Hermes.
124.	Heracles killing the Hydra (behind him Athena and Iolaiis). Greek Vase Painting: Baumeister 1, 724	[217]
125.	Heracles bringing Home the Boar (Eurystheus hiding in a wine jar). Greek Vase Painting: Harrison-Maccoll, Plate XII	[218]
126.	Heracles with the Bull: Metope of the Temple of Zeus at Olympia: Baumeister 2, 1285	[219]
127.	Heracles and Cerberus. Greek Vase Painting: Baumeister 1, 730	[220]
	Left: Athena and Hermes. Right: Goddess of the Underworld.
128.	Heracles and Antæus. Greek Vase Painting in Athens: Harrison-Maccoll, Plate XXIV	[221]
129.	Hercules and Nessus (Dejanira in Chariot). Wall Painting from Pompeii: Baumeister 1, 733	[226]
130.	The Building of the Argo, Athene directing. Ancient Terra Cotta Relief in the British Museum: Baumeister 1, 127	[229]
131.	Jason conquers the Bulls and steals the Fleece. Ancient Relief in Vienna: Baumeister 2, 981	[231]
	Center: Æetes seated. Right: Medea assists her lover.
132.	Medea deliberating upon the Murder of her Children. Wall Painting from Herculaneum: Baumeister 2, 948	[234]
133.	Medea and Daughters of Pelias preparing the Caldron. Ancient Marble Relief, Berlin: Photograph	[235]
134.	Meleager on the Boar Hunt. Roman Relief: Baumeister 2, 990	[238]
	Atalanta appears twice,—as before the hunt to the left of the central figures, as during the hunt in front of Meleager, and shooting an arrow into the boar.
135.	The Death of Meleager. Roman Sarcophagus in the Louvre: Baumeister 2, 991	[241]
	Right: the contest between Meleager and his uncles. Left: Althæa putting the fateful brand into the fire; behind her a Fury whose torch has lighted the fire. Center: the dying Meleager, and Atalanta seated mourning.
136, 137.	Castor and Pollux capturing the Giant Talus. Ancient Vase Painting: Baumeister 3, 1804	[244], [245]
	Pollux on foot in front of Medea. Seated Deities on right, Poseidon and Amphitrite.
138.	Dædalus and Icarus. Ancient Relief in the Villa Albani, Rome: Roscher 6, 934	[247]
139.	So-called Theseus. Greek Marble in the Parthenon: Baumeister 2, 1370	[249]
140.	Æthra caresses Theseus and sends him forth with his Father's Sword. Greek Vase Painting, St. Petersburg: Harrison-Maccoll, Plate XXII	[251]
141.	Theseus receiving Thanks from the Rescued after killing the Minotaur. Campanian Wall Painting in Naples: Baumeister 3, 1876	[252]
142.	The Sleeping Ariadne. Ancient Marble in Vatican: Baumeister 1, 130	[254]
143.	Head of Dionysus. Ancient Marble, Leyden: Roscher 7, 1128	[256]
144.	The Revels of Bacchus and Ariadne. Roman Sarcophagus: Baumeister 1, 492	[257]
	Large figures from left to right: Priest, Satyr, Mænad, Mercury, Bacchus and Ariadne seated, Satyr, Mænad, priest. Small figures: Desire (Himeros) and Love leading Pan captive, followed by Silenus.
145.	Lapith and Centaur fighting. Greek Metope from the Parthenon, British Museum: Photograph	[259]
146.	Œdipus and the Sphinx. Greek Vase Painting: P. Gardner, Grammar of Greek Art, Fig. 70	[261]
147.	Eteocles and Polynices kill each other. Etruscan Relief, Florence: Baumeister 3, 1841	[266]
148.	The Gods bring Wedding Gifts. Ancient Relief from the Villa Albani, Rome: Baumeister 1, 759	[271]
	From right to left, married couple, Vulcan, Minerva, the four seasons (Winter, Spring, Summer, Autumn) Hymen with torch, Comus, Amor pushing jealous deity away.
149.	Map of the Troad and the Hellespont	[273]
150.	Helen persuaded by Aphrodite; Paris (Alexander) held by Love. Ancient Relief in Naples: E. von Mach, Handbook, Plate 312	[277]
151.	Achilles taken from Scyros by Ulysses (to the right) and Diomedes (to the left). Pompeian Wall Painting, Naples: Roscher 1, 27	[279]
152.	The Sacrifice of Iphigenia. Pompeian Wall Painting, Naples: Baumeister 1, 807	[281]
153.	The Surrender of Briseïs. Relief by Thorwaldsen: Photograph	[284]
154.	Hector's Farewell. Relief by Thorwaldsen: Photograph	[291]
155, 156.	The Embassy to Achilles. Greek Vase Painting: P. Gardner, Grammar of Greek Art, Fig. 72	[294], [295]
	Left section: Briseïs is led away. Right section: Ajax and Ulysses, leaning on staff, plead with Achilles; at the right, Phœnix.
157.	The Battle by the Ships. Greek Vase Painting: Baumeister 1, 783	[296]
	Perhaps the moment when Ajax retreats. Hector presses upon him followed by a youth with a torch. At the extreme right, Paris drawing a bow.
158.	Supposed Menelaüs with the Body of Patroclus. Ancient Marble, Florence: Baumeister 1, 785	[298]
159.	Contest of Achilles and Hector. Ancient Vase Painting: Baumeister 1, 788	[302]
	Left: Athene. Right: Apollo.
160.	Achilles over the Body of Hector at the Tomb of Patroclus P. Gardner, Sculptured Tombs, Fig. 40 (whose shade is running above the tomb). Greek Vase Painting:	[303]
161.	Priam's Visit to Achilles (under whose couch lies the body of Hector). Greek Vase Painting: Baumeister 1, 791	[304]
	Achilles has been taking his dinner. Servants bear gifts behind Priam.
162.	Achilles and the Amazon Penthesilea. Greek Vase Painting: Baumeister 3, 2123	[307]
163.	Œnone warning Paris not to sail for Greece. Ancient Relief, in the Villa Ludovisi, Rome: Baumeister 2, 1360	[309]
164.	The Wooden Horse. Ancient Gem: Baumeister 1, 794	[310]
165, 166.	The Sack of Troy. Greek Vase Painting, Naples: Baumeister 1, 795	[312], [313]
	Priam on altar, Astyanax on his lap, and Polites, whom Pyrrhus has just killed, at his feet. Pyrrhus is about to strike Priam. Behind him rushes Andromache to strike a kneeling soldier. Below, under the palm tree, sits Hecuba facing the statue of Minerva (a Palladium) behind which Helen is seen to cower. In front Cassandra clings to the statue, while Ajax, striding over the body of her dead lover, tries to drag her away by the hair. To the left, Æneas, with Anchises in his arms, and little Ascanius are hastening away.
167.	Orestes and Electra at the Tomb of Agamemnon. Greek Vase Painting: Baumeister 3, 1939	[315]
168.	Orestes pursued by Furies. Greek Vase Painting: Baumeister 2, 1313	[316]
169.	Orestes and Pylades before the King of the Tauri (Iphigenia as a priestess on the steps of the temple). Wall Painting from Pompeii, Naples: Springer, Kunstgeschichte, 1, 529	[316]
170.	Ulysses offering the Cyclops Wine. Ancient Statuette in the Vatican: Baumeister 2, 1251	[318]
171.	Boring out the Cyclops' Eye. From an Attic Vase: P. Gardner, Grammar of Greek Art, p. 225	[322]
172.	Ulysses and Two Companions under the Rams. Greek Vase Painting: Harrison-Maccoll, Plate XXIX	[323]
173.	The Castle of Circe. Sicilian Vase Painting: Baumeister 2, 839	[325]
174.	Ulysses and the Sirens. Greek Vase Painting in the British Museum: P. Gardner, Grammar of Greek Art, p. 227, Fig. 78	[329]
175.	Ulysses and Scylla. Etruscan Relief: Baumeister 3, 1762	[330]
176.	Penelope at the Loom, and Telemachus. Greek Vase Painting in Museum, Chiusi: Harrison-Maccoll, Plate XLI	[339]
177.	Ulysses recognized by Euryclea (behind him Eumæus). Ancient Terra Cotta Relief: Baumeister 2, 1257	[341]
178, 179.	Ulysses kills the Suitors. Greek Vase Painting, Berlin: Baumeister 3, 2139	[342], [343]
	It will be seen that the suitors are defending themselves.
180.	The Nike (Victory) of Samothrace. Greek Statue in the Louvre: Von Mach, Greek Sculpture, Plate facing p. 30	[345]
181.	Æneas, Anchises, and Iulus. Ancient Gem, Uffizi, Florence	[347]
182.	Scylla (carved end of ancient table). Chefs d'Œuvres de l'Art Antique, Paris, 1867	[349]
183.	The Cumæan Sibyl. Painting by Michelangelo in the Vatican: Photograph	[353]
184.	Ixion on the wheel. Ancient Vase Painting, Berlin: Baumeister 1, Fig. 821	[358]
	Below, right: Vulcan looking at his handiwork; a Fury and Hermes. Above: winged forms, perhaps the Hours, to see that the motion is perpetual. One is even now shoving the wheel; the other has just taken off her hand to point "your turn."
185.	Amazon. Ancient Marble Statue: Guhl and Koner	[364]
186.	Valkyrie bearing a Hero to Valhalla. Painting by Dielitz: Photograph	[375]
187.	Loki and Siguna. Painting by Gebhardt: Photograph	[393]
188.	Gunther and Brunhild. Fresco by Julius Schnorr von Carolsfeld: Photograph	[406]
189.	Siegfried and Kriemhild. Fresco by Julius Schnorr von Carolsfeld: Photograph	[407]

[FULL-PAGE ILLUSTRATIONS AND MAPS]

		PAGE
Lemnian Athena		Frontispiece
	Statue, possibly after Phidias, reconstructed by Furtwängler from torso in Dresden and head in Bologna: Photograph.
Hera of the Vatican		[22]
	Ancient Marble in the Vatican: Photograph.
Venus (Aphrodite) of Melos		[32]
	Greek Marble in the Louvre: Photograph.
Greece in the Fifth Century B.C.		[64]
The Farnese Bull Group: Amphion, Zethus, Dirce, and Antiope		[74]
	Ancient Marble in Naples: E. von Mach, Handbook, Fig. 44.
Apollo and Daphne		[112]
	Marble Group by Bernini, Villa Borghese, Rome: Photograph.
Aphrodite (Petworth Head)		[126]
	Ancient Marble in London: Furtwängler, Masterpieces, Plate XVII.
Eros with Bow		[136]
	Ancient Marble in the Capitoline Museum: Baumeister 1, 539.
Hermes of Praxiteles		[150]
	Greek Marble in Olympia: Photograph.
Perseus freeing Andromeda		[212]
	Ancient Relief in the Capitoline Museum: Roscher 2, 346.
The Wedding of Hercules and Hebe		[226]
	Ancient Apulian Vase Painting in Berlin: Baumeister 1, 700.
Amazon		[306]
	Ancient Marble in Lansdowne House: Photograph.
Laocoön		[310]
	Greek Marble in the Vatican: Photograph.
The Outer Geography of the Odyssey		[318]
Flying Mercury		[330]
	Statue by Giovanni di Bologna in Florence: Photograph.
Italy before the Growth of the Roman Empire		[346]
The Victory (Nike) of Brescia		[372]
	Ancient Bronze Statue: E. von Mach, Greek Sculpture, Plate XXXV, No. 4.

[INTRODUCTION]
THE STUDY OF MYTHOLOGY IN CONNECTION WITH ENGLISH POETRY AND WITH ART

Our American educational methods too frequently seek to produce the effect of polish upon a kind of sandstone information that will not stand polishing. With such fatuity many of our teachers in the secondary schools exercise their pupils in the study of English masterpieces and in the critical estimate of æsthetic qualities before acquainting them with the commonplace facts and fables that, transmitted through generations, are the material of much of our poetry because the material of daily converse, imagination, and thought. These commonplaces of tradition are to be found largely in the literature of mythology. Of course the evil would be neither so widespread nor so dangerous if more of the guardians and instructors of our youth were at home even among the Greek and Latin classics. But for various reasons,—some valid, as, for instance, the importance of increased attention to the modern languages and the natural sciences; others worthless, as the so-called utilitarian protest against the cultivation of "dead" languages,—for various reasons the study of the classics is at present considerably impaired. It is, therefore, incumbent upon our universities and schools, recognizing this fact and deploring it, to abate so far as possible the unfortunate consequences that proceed therefrom, until, by a readjustment of subjects of instruction and of the periods allotted them, the Greek and Latin classics shall be reinstated in their proper place as a means of discipline, a humanizing influence, the historic background against which our present appears. For, cut off from the intellectual and imaginative sources of Greece and Rome, the state and statesmanship, legislation and law, society and manners, philosophy, religion, literature, art, and even artistic appreciation, run readily shallow and soon dry.

Now, one evident means of tempering the consequence of this neglect of the classics is the study of them through translations and summaries. Such secondhand study must indeed be ever a makeshift; for the literature of a people inheres in its language, and loses its seeming and often its characteristic when caparisoned in the trappings of another speech,—an utterance totally dissimilar, the outcome of diverse conditions of physical environment, history, social and intellectual tradition. But in dealing with the purely imaginative products of antiquity, the inefficacy of translation may be somewhat offset if those products be reproduced, so far as possible, not in the prosaic but in the poetic atmosphere and in the imaginative garb of art. For though the phenomena of plastic art are not the same in one continent as in another, or from one century to the next, and though the fashion of poetry itself varies from age to age and from clime to clime, the genesis of imagination is universal, its products are akin, and its process is continuous. For this reason the study of the imaginative thought of the ancients through the artistic creations of the moderns is commended to students and readers as feasible and profitable.

The study of the classic myths stimulates to creative production, prepares for the appreciation of poetry and other kinds of art, and furnishes a clew to the spiritual development of the race.

1. Classic mythology has been for succeeding poetry, sculpture, and painting, a treasure house replete with golden tales and glimmering thoughts, passions in the rough and smooth, and fancies rich bejeweled. Like Virgil's Shadows that flit by the Lethean stream until at beck of Fate they revisit upper day and the ever-tranquil stars, these ghosts of "far-off things and battles long ago," peopling the murmurous glades of myth, await the artist who shall bestow on each his new and predetermined form and restore them, purified and breathing of Elysian air, to the world of life and ever-young mankind.

2. For the reader the study of mythology does, in this respect, as much as for poet, sculptor, or painter. It assists him to thrid the labyrinth of art, not merely with the clew of tradition, but with a thread of surer knowledge whose surest strand is sympathy.

The knowledge of mythic lore has led men in the past broadly to appreciate the motives and conditions of ancient art and literature, and the uniform and ordered evolution of the æsthetic sense. And, beside enriching us with heirlooms of fiction and pointing us to the sources of imaginative joy from which early poets of Hellenic verse, or Norse, or English, drank, the classic myths quicken the imaginative and emotional faculties to-day, just as of old. How many a man held by the sorrows of the Labdacidæ or the love of Alcestis, by some curious wonder in Pausanias, or some woe in Hyginus, has waked to the consciousness of artistic fancy and creative force within himself! How many, indifferent to the well-known round, the trivial task, the nearest care of home, have read the Farewell to Andromache and lived a new sympathy, an unselfish thrill, a purified delight! And not only as an impulse toward artistic output, or patriotic devotion, or domestic altruism, but as a restraining influence, a chastener of æsthetic excess, a moderator of the "unchartered freedom" that knows no mean between idolatry and loathing, of the foolish frenzy that affects new things, abnormal and sensational, in literature, music, and the plastic arts,—as such a tutor and governor is the study of beautiful myths invaluable. Long familiarity with the sweet simplicity, the orderly restraint, the severe regard, the filial awe that pervade the myths of Greece and Rome,—or with the newness of life and fullness and wonder of it, the naïveté and the romance, of Eddic lore,—cannot but graciously temper our modern estimate of artistic worth.

The study, when illustrated by masterpieces of literature and art, should lead to the appreciation of concrete artistic productions of both these kinds.

It goes without saying that a rational series of somewhat consecutive stories is more serviceable to the reader than a congeries of data acquired by spasmodic consultation of the classical dictionary,—a mass of information bolted, as it were, but by no means digested. If, moreover, these stories are narrated in genealogical and realistic sequence and are illustrated by lyric, narrative, and descriptive passages of modern literature, there is furnished not only that material of allusion and reference for which the student nowadays trusts to meager and disjointed textbook notes, but a potentiality that should render the general reading of belles-lettres more profitable. For a previous acquaintance with the material of literary tradition heightens the appreciation of each allusive passage as it is encountered; it enables the reader to sympathize with the mood and to enter into the purpose of the poet, the essayist, the novelist, the orator; it expands the intellectual lungs for the atmosphere breathed by the artist, at any rate for a literary and social atmosphere less asthmatic than that to which so many of us are unconsciously habituated. Of course all this advantage would far better result from the first-hand nutriment and discipline of the Greek and Latin classics; of course direct familiarity with the writers of Greece and Rome is the sine qua non of level-headed criticism and broad evaluation of modern literature; and, of course, a sympathy with the imaginings of old is the best incentive to an æsthetic estimate not only of art but of nature to-day; but if our American pupils and many of their teachers cannot quaff Massic and Falernian, they do well to scent the bouquet. In time a sense of flavor may perchance be stimulated, and ultimately a desire for nearer acquaintance with the literatures that we inherit.

The study of these ancient tales serves, then, much more than the purpose of special information. It refines the æsthetic judgment in general, and heightens the enjoyment of such works of literature as, not treating of mythical or classical subjects, still possess the characteristics of the classic: the unconscious simplicity, the inevitable charm, and the noble ideality. The Lycidas, the Adonais, the Thyrsis, the In Memoriam, the Ode to Duty, the Bothie of Tober-na-Vuolich, the Hymn of Man, Love is Enough, Prospice, Festus, the Ode of Life, the Dream of Gerontius, Lying in the Grass, and Simmenthal must mean little to one devoid of the spirit of classicism.

In respect of art a similar inspiration, aid, instruction, are afforded by the study. This volume is liberally supplied with cuts of famous paintings and sculptures of mythical subjects. Familiarity with specimens of ancient art, even through the medium of photography and engraving, must not only cultivate the historic sense but stimulate the æsthetic. The cruder efforts of the ancients, no less than the more refined, are windows through which we view the ancient mind. The frequent contemplation of their nobler efforts and of the modern masterpieces here reproduced may avail to lift some from the level of apathy or provinciality in matters of imagination; some it may spur to a study of the originals, some to artistic creation. A public which, from year to year, displays a deeper interest in the art of foreign lands will despise no auxiliary to a more intelligent appreciation of that art. A country whose future in artistic achievement cannot be prophesied in a paragraph will more and more truly recognize the value of a study that is an introduction to much that is best in art as it exists.

3. Furthermore, it must be borne in mind that the myths of the ancients, as the earliest literary crystallization of social order and religious fear, record the incipient history of religious ideals and of moral conduct. For though ethnologists may insist that to search for truth in mythology is vain, the best of them will grant that to search for truth through mythology is wise and profitable. If we accept the statement (often stretched beyond its proper limit) that mythology is primitive philosophy, and the other statement that an ancient philosophy never dies, but by process of internal growth, of modification, and of accretion acquires a purer spirit and a new and higher form,—then, since truth was never yet conceived of error (ex nihilo nihil fit), the truth now recognized, while it did not exist in that fraction of myth which happens to be irrational, existed as an archetypal impulse,—set the myth in motion, and, as a process refining the mind of man, tended steadily to eliminate from primitive philosophy (that is, from the myths that embodied primitive philosophy) the savage, ephemeral, and irrational element. For all myths spring from the universal and inalienable desire to know, to enjoy, to teach. These impulses of knowledge, of imaginative relaxation, of conduct, are the throbbing of the heart of reason; the first or the second is the primal pulse of every myth, and to the life of every myth each impulse may be, at some period, contributory. This study has led men to trace soberly the progress of their kind from the twilight of gray conjecture to the dawn of spiritual conviction and rational individuality; to discern a continuity of thought, an outward reach of imagination, an upward lift of moral and religious ideas; to confess the brotherhood of humanity and an inspiring purpose which holds good for every race and through all time.

THE CLASSIC MYTHSIN ENGLISH LITERATURE AND IN ARTBASED ORIGINALLY ON BULFINCH'S "AGE OF FABLE" (1855)ACCOMPANIED BY AN INTERPRETATIVE AND ILLUSTRATIVE COMMENTARY