Nor is any story more essential to the pantomime's purpose than that of Hypsipyle and Archemorus in Nemea; and, in older days, the imprisonment of Danae, the begetting of Perseus, his enterprise against the Gorgons; and connected therewith is the Ethiopian narrative of Cassiopea, and Cepheus, and Andromeda, all of whom the belief of later generations has placed among the stars. To these must be added the ancient legend of Aegyptus and Danaus, and of that guilty wedding-night.
Lacedaemon, too, supplies him with many similar subjects: Hyacinth, and his rival lovers, Zephyr and Apollo, and the quoit that slew him, the flower that sprang up from his blood, and the inscription of woe thereon; the raising of Tyndareus from the dead, and the consequent wrath of Zeusagainst Asclepius; again, the reception of Paris by Menelaus, and the rape of Helen, the sequel to his award of the golden apple. For the Spartan mythology must be held to include that of Troy, in all its abundance and variety. Of all who fell at Troy, not one but supplies a subject for the stage; and all—from the rape of Helen to the return of the Greeks—must ever be borne in mind: the wanderings of Aeneas, the love of Dido; and side by side with this the story of Orestes, and his daring deeds in Scythia. And there are earlier episodes which will not be out of place; they are all connected with the tale of Troy: such are the seclusion of Achilles in Scyrus, the madness of Odysseus, the solitude of Philoctetes, with the whole story of Odysseus's wanderings, of Circe and Telegonus, of Aeolus, controller of the winds, down to the vengeance wreaked upon the suitors of Penelope; and, earlier, Odysseus's plot against Palamedes, the resentment of Nauplius, the frenzy of the one Ajax, the destruction of the other on the rocks.
Elis, too, affords many subjects for the intending pantomime: Oenomaus, Myrtilus, Cronus, Zeus, and that first Olympian contest. Arcadia, no less rich in legendary lore, gives him the flight of Daphne, the transformation of Callisto into a bear, the drunken riot of the Centaurs, the birth of Pan, the love of Alpheus, and his submarine wanderings.
Extending our view, we find that Crete, too, may be laid under contribution: Europa's bull, Pasiphae's, the Labyrinth, Ariadne, Phaedra, Androgeos; Daedalus and Icarus; Glaucus, and the prophecy of Polyides; and Talos, the island's brazen sentinel.
It is the same with Aetolia: there you will find Althaea, Meleager, Atalanta, and the fatal brand; the strife of Achelous with Heracles, the birth of the Sirens, the origin of the Echinades, those islands on which Alcmaeon dwelt after his frenzy was past; and, following these, the story of Nessus, and of Deianira's jealousy, which brought Heracles to the pyre upon Oeta. Thrace, too, has much that is indispensable to the pantomime: of the head of murdered Orpheus, that sang while it floated down the stream upon his lyre; of Haemus and of Rhodope; and of the chastisement of Lycurgus.
Thessalian story, richer still, tells of Pelias and Jason; of Alcestis; and of the Argo with her talking keel and her crew of fifty youths; of what befell them in Lemnos; of Aeetes, Medea's dream, the rending of Absyrtus, the eventful flight from Colchis; and, in later days, of Protesilaus and Laodamia.
Cross once more to Asia, and Samos awaits you, with the fall of
Polycrates, and his daughter's flight into Persia; and the ancient story
of Tantalus's folly, and of the feast that he gave the Gods; of butchered
Pelops, and his ivory shoulder.
In Italy, we have the Eridanus, Phaethon, and his poplar-sisters, who wept tears of amber for his loss.
The pantomime must be familiar, too, with the story of the Hesperides, and the dragon that guarded the golden fruit; with burdened Atlas, and Geryon, and the driving of the oxen from Erythea; and every tale of metamorphosis, of women turned into trees or birds or beasts, or (like Caeneus and Tiresias) into men. From Phoenicia he must learn of Myrrha and Adonis, who divides Assyria betwixt grief and joy; and in more modern times of all that Antipater [Footnote: Not Antipater, but Antiochus, is meant.] and Seleucus suffered for the love of Stratonice.
The Egyptian mythology is another matter: it cannot be omitted, but on account of its mysterious character it calls for a more symbolical exposition;—the legend of Epaphus, for instance, and that of Osiris, and the conversion of the Gods into animals; and, in particular, their love adventures, including those of Zeus himself, with his various transformations.