2. Myth deals with the worn-out and obsolete ideas of the past, and will give children false religious and scientific notions. But one does not rule out Paradise Lost because Milton's cosmogony is so purely fanciful, nor Dante because of his equally fantastic structure of the Inferno. Neither children nor older readers are ever led astray by these purely incidental backgrounds against which and by means of which the human interest is powerfully projected.
3. Myth is too deeply symbolical. But readers of different ages and abilities find results up to their stature. We do not demand that the children shall be able to understand all that is back of Gulliver's Travels, or Pilgrim's Progress, before we give them those books. What is worth while in literature has an increasing message as the powers of the reader increase.
How to use myths. We may sum up the conclusions thus: Select those myths that tell stories of dramatic force and that have sound ethical worth. So far as possible let these be the ones most familiar in literary allusion and in common speech. Present the myth as you would any other folk story. Since myth naturally comes along a little later than fairy stories, probably beginning not earlier than the third grade, the discussion of its meanings may take a wider range. Keep the poetic elements of the story prominent, as in most of the examples following.
SUGGESTIONS
For the soundest and most illuminating discussion of the values and proper use of myths in education see Edward Howard Griggs, Moral Education, chap, xxi, "The Ethical Value of Mythology and Folk-Lore." For some good suggestions and lists consult Ezra Allen, "The Pedagogy of Myth in the Grades," Pedagogical Seminary, Vol. VIII, p. 258. A very interesting plan for the use of myths may be found in two articles by O. O. Norris, "Myths and the Teaching of Myths," The American Schoolmaster, Vol. IX, p. 96 and p. 145. Consult also MacClintock, Literature in the Elementary School, chap, vii, and McMurry, Special Method in Reading, pp. 92-105.
The first nine myths in this section came originally from Greek mythology. The Romans adopted the mythology of the Greeks, but changed the names of the gods. English-speaking peoples have usually used these Latin versions. Hence in the following Greek myths the Roman names of the gods are used. In this note the Greek name is usually given in parenthesis after the Roman.
According to mythology, Saturn once ruled the universe. After a great war he was overthrown and the universe was divided into three kingdoms, each governed by one of his sons. Jupiter (Zeus) ruled the heavens and the earth; Neptune (Poseidon) ruled the sea; and Pluto (Dis) ruled Hades, or Tartarus, the gloomy region of the dead in a cavern far under the surface of the earth. The home of Jupiter and the many other gods of heaven was represented as being the top of Mount Olympus, in Thessaly. Here each of the gods of heaven had a separate dwelling, but all assembled at times in the palace of Jupiter. Sometimes these gods went to earth, through a gate of clouds kept by goddesses called the Seasons.
The relations between these divinities were much like those between people on earth. Some had greater power than others, and rivalries and quarrels frequently arose. Jupiter, the supreme ruler, governed by wisdom as well as by the power of his thunderbolt. He had three sisters: Juno, Vesta, and Ceres. Juno (Hera) was the wife of Jupiter and the noblest of the goddesses. Vesta (Hestia), the goddess of health, was not married. Ceres (Demeter), the goddess of agriculture, was the mother of Proserpine, who became wife of Pluto and queen of Hades. Minerva (Athena), goddess of wisdom and Jupiter's favorite daughter, had no mother, as she sprang fully armed from Jupiter's head. Venus (Aphrodite) was goddess of beauty and mother of Cupid, god of love. Two other goddesses were Diana (Artemis), modest virgin goddess of the moon, who protects brute creation, and Hebe, cup-bearer to the gods. Among the greatest of the gods were three sons of Jupiter: Apollo, Mars, and Vulcan. Apollo, or Phoebus, was god of the sun and patron of music, archery, and prophecy. Mars (Ares) was god of war, and Vulcan (Hephaestus), the lame god of fire, was the blacksmith of the gods.
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This version of the myth of Ceres and Proserpine is taken by permission of the author and the publishers from Stories of Long Ago, by Grace H. Kupfer. (Copyright. D. C. Heath & Co., Boston.) "Of all the beautiful fictions of Greek mythology," said Aubrey DeVere, "there are few more exquisite than the story of Proserpine, and none deeper in symbolical meaning." That portion of its meaning fitted to the understanding of children is indicated in the final paragraphs of Miss Kupfer's version. Teachers should realize that "the fable has, however, its moral significance also, being connected with that great mystery of Joy and Grief, of Life and of Death, which pressed so heavily on the mind of Pagan Greece, and imparts to the whole of her mythology a profound interest, spiritual as well as philosophical. It was the restoration of Man, not of flowers, the victory over Death, not over Winter, with which that high Intelligence felt itself to be really concerned." Hawthorne's version of this story appears in Tanglewood Tales as "The Pomegranate Seeds."