Myths and Legends of Ancient Greece and Rome 13

Myths and Legends of Ancient Greece and Rome 13

This myth would appear to be an allegory, which signifies that the soul,

before it can be reunited to its original divine essence, must be purified

by the chastening sorrows and sufferings of its earthly career.[51]

 

Eros is represented as a lovely boy, with rounded limbs, and a merry,

roguish __EXPRESSION__. He has golden wings, and a quiver slung over his

shoulder, which contained his magical and unerring arrows; in one hand he

bears his golden bow, and in the other a torch.

 

He is also frequently depicted riding on a lion, dolphin, or eagle, or

seated in a chariot drawn by stags or wild boars, undoubtedly emblematical

of the power of love as the subduer of all nature, even of the wild

animals.

 

In Rome, Eros was worshipped under the name of Amor or Cupid.

 

HYMEN.

 

Hymen or Hymenæus, the son of Apollo and the muse Urania, was the god who

presided over marriage and nuptial solemnities, and was hence invoked at

all marriage festivities.

 

There is a myth concerning this divinity, which tells us that Hymen was a

beautiful youth of very poor parents, who fell in love with a wealthy

maiden, so far above him in rank, that he dared not cherish the hope of

ever becoming united to her. Still he missed no opportunity of seeing her,

and, upon one occasion, disguised himself as {155} a girl, and joined a

troop of maidens, who, in company with his beloved, were proceeding from

Athens to Eleusis, in order to attend a festival of Demeter. On their way

thither they were surprised by pirates, who carried them off to a desert

island, where the ruffians, after drinking deeply, fell into a heavy sleep.

Hymen, seizing the opportunity, slew them all, and then set sail for

Athens, where he found the parents of the maidens in the greatest distress

at their unaccountable disappearance. He comforted them with the assurance

that their children should be restored to them, provided they would promise

to give him in marriage the maiden he loved. The condition being gladly

complied with, he at once returned to the island, and brought back the

maidens in safety to Athens, whereupon he became united to the object of

his love; and their union proved so remarkably happy, that henceforth the

name of Hymen became synonymous with conjugal felicity.

 

IRIS (THE RAINBOW).

 

Iris, the daughter of Thaumas and Electra, personified the rainbow, and was

the special attendant and messenger of the queen of heaven, whose commands

she executed with singular tact, intelligence, and swiftness.

 

Most primitive nations have regarded the rainbow as a bridge of

communication between heaven and earth, and this is doubtless the reason

why Iris, who represented that beautiful phenomenon of nature, should have

been invested by the Greeks with the office of communicating between gods

and men.

 

Iris is usually represented seated behind the chariot of Hera, ready to do

the bidding of her royal mistress. She appears under the form of a slender

maiden of great beauty, robed in an airy fabric of variegated hues,

resembling mother-of-pearl; her sandals are bright as burnished silver, she

has golden wings, and wherever she appears, a radiance of light, and a

sweet odour, as of delicate spring flowers, pervades the air. {156}

 

[Illustration]

 

HEBE (JUVENTAS).

 

Hebe was the personification of eternal youth under its most attractive and

joyous aspect.

 

She was the daughter of Zeus and Hera, and though of such distinguished

rank, is nevertheless represented as cup-bearer to the gods; a forcible

exemplification of the old patriarchal custom, in accordance with which the

daughters of the house, even when of the highest lineage, personally

assisted in serving the guests.

 

Hebe is represented as a comely, modest maiden, small, of a beautifully

rounded contour, with nut-brown tresses and sparkling eyes. She is often

depicted pouring out nectar from an upraised vessel, or bearing in her hand

a shallow dish, supposed to contain ambrosia, the ever youth-renewing food

of the immortals.

 

In consequence of an act of awkwardness, which caused her to slip while

serving the gods, Hebe was deprived of her office, which was henceforth

delegated to Ganymedes, son of Tros.

 

Hebe afterwards became the bride of Heracles, when, after his apotheosis,

he was received among the immortals.

 

JUVENTAS.

 

Juventas was the Roman divinity identified with Hebe, whose attributes,

however, were regarded by the Romans as applying more particularly to the

imperishable vigour and immortal glory of the state.

 

In Rome, several temples were erected in honour of this goddess. {157}

 

GANYMEDES.

 

Ganymedes, the youngest son of Tros, king of Troy, was one day drawing

water from a well on Mount Ida, when he was observed by Zeus, who, struck

with his wonderful beauty, sent his eagle to transport him to Olympus,

where he was endowed with immortality, and appointed cup-bearer to the

gods.

 

Ganymedes is represented as a youth of exquisite beauty, with short golden

locks, delicately chiselled features, beaming blue eyes, and pouting lips.

 

THE MUSES.

 

Of all the Olympic deities, none occupy a more distinguished position than

the Muses, the nine beautiful daughters of Zeus and Mnemosyne.

 

In their original signification, they presided merely over music, song, and

dance; but with the progress of civilization the arts and sciences claimed

their special presiding divinities, and we see these graceful creations, in

later times, sharing among them various functions, such as poetry,

astronomy, &c.

 

The Muses were honoured alike by mortals and immortals. In Olympus, where

Apollo acted as their leader, no banquet or festivity was considered

complete without their joy-inspiring presence, and on earth no social

gathering was celebrated without libations being poured out to them; nor

was any task involving intellectual effort ever undertaken, without

earnestly supplicating their assistance. They endowed their chosen

favourites with knowledge, wisdom, and understanding; they bestowed upon

the orator the gift of eloquence, inspired the poet with his noblest

thoughts, and the musician with his sweetest harmonies.

 

Like so many of the Greek divinities, however, the refined conception of

the Muses is somewhat marred by the acerbity with which they punished any

effort on the part {158} of mortals to rival them in their divine powers.

An instance of this is seen in the case of Thamyris, a Thracian bard, who

presumed to invite them to a trial of skill in music. Having vanquished

him, they not only afflicted him with blindness, but deprived him also of

the power of song.

 

Another example of the manner in which the gods punished presumption and

vanity is seen in the story of the daughters of King Pierus. Proud of the

perfection to which they had brought their skill in music, they presumed to

challenge the Muses themselves in the art over which they specially

presided. The contest took place on Mount Helicon, and it is said that when

the mortal maidens commenced their song, the sky became dark and misty,

whereas when the Muses raised their heavenly voices, all nature seemed to

rejoice, and Mount Helicon itself moved with exultation. The Pierides were

signally defeated, and were transformed by the Muses into singing birds, as

a punishment for having dared to challenge comparison with the immortals.

 

Undeterred by the above example, the Sirens also entered into a similar

contest. The songs of the Muses were loyal and true, whilst those of the

Sirens were the false and deceptive strains with which so many unfortunate

mariners had been lured to their death. The Sirens were defeated by the

Muses, and as a mark of humiliation, were deprived of the feathers with

which their bodies were adorned.

 

The oldest seat of the worship of the Muses was Pieria in Thrace, where

they were supposed to have first seen the light of day. Pieria is a

district on one of the sloping declivities of Mount Olympus, whence a

number of rivulets, as they flow towards the plains beneath, produce those

sweet, soothing sounds, which may possibly have suggested this spot as a

fitting home for the presiding divinities of song.

 

They dwelt on the summits of Mounts Helicon, Parnassus, and Pindus, and

loved to haunt the springs and fountains which gushed forth amidst these

rocky {159} heights, all of which were sacred to them and to poetic

inspiration. Aganippe and Hippocrene on Mount Helicon, and the Castalian

spring on Mount Parnassus, were sacred to the Muses. The latter flowed

between two lofty rocks above the city of Delphi, and in ancient times its

waters were introduced into a square stone basin, where they were retained

for the use of the Pythia and the priests of Apollo.

 

[Illustration: CALLIOPE.]

 

The libations to these divinities consisted of water, milk, and honey, but

never of wine.

 

Their names and functions are as follows:--

 

CALLIOPE, the most honoured of the Muses, presided over heroic song and

epic poetry, and is represented with a pencil in her hand, and a slate upon

her knee.

 

CLIO, the muse of History, holds in her hand a roll of parchment, and wears

a wreath of laurel.

 

MELPOMENE, the muse of Tragedy, bears a tragic mask.

 

THALIA, the muse of Comedy, carries in her right hand a shepherd's crook,

and has a comic mask beside her.

 

POLYHYMNIA, the muse of Sacred Hymns, is crowned with a wreath of laurel.

She is always represented in a thoughtful attitude, and entirely enveloped

in rich folds of drapery.

 

TERPSICHORE, the muse of Dance and Roundelay, is represented in the act of

playing on a seven-stringed lyre.

 

URANIA, the muse of Astronomy, stands erect, and bears in her left hand a

celestial globe.

 

EUTERPE, the muse of Harmony, is represented bearing a musical instrument,

usually a flute.

 

ERATO, the muse of Love and hymeneal songs, wears a wreath of laurel, and

is striking the chords of a lyre. {160}

 

[Illustration: CLIO.]

 

[Illustration: TERPSICHORE.]

 

[Illustration: EUTERPE.]

 

[Illustration: ERATO.]

 

With regard to the origin of the Muses, it is said that they were created

by Zeus in answer to a request on the part of the victorious deities, after

the war with the {161} Titans, that some special divinities should be

called into existence, in order to commemorate in song the glorious deeds

of the Olympian gods.

 

[Illustration: URANIA.]

 

[Illustration: MELPOMENE.]

 

[Illustration: THALIA.]

 

[Illustration: POLYHYMNIA.]

 

{162}

 

PEGASUS.

 

Pegasus was a beautiful winged horse who sprang from the body of Medusa

when she was slain by the hero Perseus, the son of Zeus and Danaë.

Spreading out his wings he immediately flew to the top of Mount Olympus,

where he was received with delight and admiration by all the immortals. A

place in his palace was assigned to him by Zeus, who employed him to carry

his thunder and lightning. Pegasus permitted none but the gods to mount

him, except in the case of Bellerophon, whom, at the command of Athene, he

carried aloft, in order that he might slay the Chimæra with his arrows.

 

The later poets represent Pegasus as being at the service of the Muses, and

for this reason he is more celebrated in modern times than in antiquity. He

would appear to represent that poetical inspiration, which tends to develop

man's higher nature, and causes the mind to soar heavenwards. The only

mention by the ancients of Pegasus in connection with the Muses, is the

story of his having produced with his hoofs, the famous fountain

Hippocrene.

 

It is said that during their contest with the Pierides, the Muses played

and sang on the summit of Mount Helicon with such extraordinary power and

sweetness, that heaven and earth stood still to listen, whilst the mountain

raised itself in joyous ecstasy towards the abode of the celestial gods.

Poseidon, seeing his special function thus interfered with, sent Pegasus to

check the boldness of the mountain, in daring to move without his

permission. When Pegasus reached the summit, he stamped the ground with his

hoofs, and out gushed the waters of Hippocrene, afterwards so renowned as

the sacred fount, whence the Muses quaffed their richest draughts of

inspiration.

 

THE HESPERIDES.

 

The Hesperides, the daughters of Atlas, dwelt in an island in the far west,

whence they derived their name. {163}

 

They were appointed by Hera to act as guardians to a tree bearing golden

apples, which had been presented to her by Gæa on the occasion of her

marriage with Zeus.

 

It is said that the Hesperides, being unable to withstand the temptation of

tasting the golden fruit confided to their care, were deprived of their

office, which was henceforth delegated to the terrible dragon Ladon, who

now became the ever-watchful sentinel of these precious treasures.

 

The names of the Hesperides were Aegle, Arethusa, and Hesperia.

 

CHARITES (GRATIÆ) GRACES.

 

All those gentler attributes which beautify and refine human existence were

personified by the Greeks under the form of three lovely sisters,

Euphrosyne, Aglaia, and Thalia, the daughters of Zeus and Eurynome (or,

according to later writers, of Dionysus and Aphrodite).

 

They are represented as beautiful, slender maidens in the full bloom of

youth, with hands and arms lovingly intertwined, and are either undraped,

or wear a fleecy, transparent garment of an ethereal fabric.

 

They portray every gentle emotion of the heart, which vents itself in

friendship and benevolence, and were believed to preside over those

qualities which constitute grace, modesty, unconscious beauty, gentleness,

kindliness, innocent joy, purity of mind and body, and eternal youth.

 

They not only possessed the most perfect beauty themselves, but also

conferred this gift upon others. All the enjoyments of life were enhanced

by their presence, and were deemed incomplete without them; and wherever

joy or pleasure, grace and gaiety reigned, there they were supposed to be

present.

 

Temples and altars were everywhere erected in their honour, and people of

all ages and of every rank in life entreated their favour. Incense was

burnt daily upon their altars, and at every banquet they were invoked,

{164} and a libation poured out to them, as they not only heightened all

enjoyment, but also by their refining influence moderated the exciting

effects of wine.

 

Music, eloquence, poetry, and art, though the direct work of the Muses,

received at the hands of the Graces an additional touch of refinement and

beauty; for which reason they are always regarded as the friends of the

Muses, with whom they lived on Mount Olympus.

 

Their special function was to act, in conjunction with the Seasons, as

attendants upon Aphrodite, whom they adorned with wreaths of flowers, and

she emerges from their hands like the Queen of Spring, perfumed with the

odour of roses and violets, and all sweet-scented blossoms.

 

The Graces are frequently seen in attendance on other divinities; thus they

carry music for Apollo, myrtles for Aphrodite, &c., and frequently

accompany the Muses, Eros, or Dionysus.

 

HORÆ (SEASONS).

 

Closely allied to the Graces were the Horæ, or Seasons, who were also

represented as three beautiful maidens, daughters of Zeus and Themis. Their

names were Eunomia, Dice, and Irene.

 

It may appear strange that these divinities, presiding over the seasons,

should be but three in number, but this is quite in accordance with the

notions of the ancient Greeks, who only recognized spring, summer, and

autumn as seasons; nature being supposed to be wrapt in death or slumber,

during that cheerless and unproductive portion of the year which we call

winter. In some parts of Greece there were but two Horæ, Thallo, goddess of

the bloom, and Carpo, of the corn and fruit-bearing season.

 

The Horæ are always regarded as friendly towards mankind, and totally

devoid of guile or subtlety; they are represented as joyous, but gentle

maidens, crowned with flowers, and holding each other by the hand in a

round dance. When they are depicted separately as personifications of the

different seasons, the Hora {165} representing spring appears laden with

flowers, that of summer bears a sheaf of corn, whilst the personification

of autumn has her hands filled with clusters of grapes and other fruits.

They also appear in company with the Graces in the train of Aphrodite, and

are seen with Apollo and the Muses.

 

They are inseparably connected with all that is good and beautiful in

nature, and as the regular alternation of the seasons, like all her other

operations, demands the most perfect order and regularity, the Horæ, being

the daughters of Themis, came to be regarded as the representatives of

order, and the just administration of human affairs in civilized

communities. Each of these graceful maidens took upon herself a separate

function: Eunomia presided more especially over state life, Dice guarded

the interests of individuals, whilst Irene, the gayest and brightest of the

three sisters, was the light-hearted companion of Dionysus.

 

The Horæ were also the deities of the fast-fleeting hours, and thus

presided over the smaller, as well as the larger divisions of time. In this

capacity they assist every morning in yoking the celestial horses to the

glorious chariot of the sun, which they again help to unyoke when he sinks

to rest.

 

In their original conception they were personifications of the clouds, and

are described as opening and closing the gates of heaven, and causing

fruits and flowers to spring forth, when they pour down upon them their

refreshing and life-giving streams.

 

THE NYMPHS.

 

The graceful beings called the Nymphs were the presiding deities of the

woods, grottoes, streams, meadows, &c.

 

These divinities were supposed to be beautiful maidens of fairy-like form,

and robed in more or less shadowy garments. They were held in the greatest

veneration, though, being minor divinities, they had no temples {166}

dedicated to them, but were worshipped in caves or grottoes, with libations

of milk, honey, oil, &c.

 

They may be divided into three distinct classes, viz., water, mountain, and

tree or wood nymphs.

 

WATER NYMPHS.

 

OCEANIDES, NEREIDES, AND NAIADES.

 

The worship of water-deities is common to most primitive nations. The

streams, springs, and fountains of a country bear the same relation to it

which the blood, coursing through the numberless arteries of a human being,

bears to the body; both represent the living, moving, life-awakening

element, without which existence would be impossible. Hence we find among

most nations a deep feeling of attachment to the streams and waters of

their native land, the remembrance of which, when absent in foreign climes,

is always treasured with peculiar fondness. Thus among the early Greeks,

each tribe came to regard the rivers and springs of its individual state as

beneficent powers, which brought blessing and prosperity to the country. It

is probable also that the charm which ever accompanies the sound of running

water exercised its power over their imagination. They heard with delight

the gentle whisper of the fountain, lulling the senses with its low,

rippling tones; the soft purling of the brook as it rushes over the

pebbles, or the mighty voice of the waterfall as it dashes on in its

headlong course; and the beings which they pictured to themselves as

presiding over all these charming sights and sounds of nature,

corresponded, in their graceful appearance, with the scenes with which they

were associated.

 

OCEANIDES.

 

The OCEANIDES, or Ocean Nymphs, were the daughters of Oceanus and Tethys,

and, like most sea divinities, were endowed with the gift of prophecy.

 

They are personifications of those delicate vapour-like {167} exhalations,

which, in warm climates, are emitted from the surface of the sea, more

especially at sunset, and are impelled forwards by the evening breeze. They

are accordingly represented as misty, shadowy beings, with graceful swaying

forms, and robed in pale blue, gauze-like fabrics.

 

THE NEREIDES.

 

The NEREIDES were the daughters of Nereus and Doris, and were nymphs of the

Mediterranean Sea.

 

They are similar in appearance to the Oceanides, but their beauty is of a

less shadowy order, and is more like that of mortals. They wear a flowing,

pale green robe; their liquid eyes resemble, in their clear depths, the

lucid waters of the sea they inhabit; their hair floats carelessly over

their shoulders, and assumes the greenish tint of the water itself, which,

far from deteriorating from their beauty, greatly adds to its effect. The

Nereides either accompany the chariot of the mighty ruler of the sea, or follow in his train.